“The Confident Gaze”

In Deshande’s article, “The Confident Gaze”, it talks about the National Geographic Magazine and how it portrays the life of people in foreign Countries. Some magazines go over the way people live and how they survive and other magazines just cover interesting facts about certain cultures. Every national geographic book is beneficial to you in some way. In the article Deshande states, “It is hard to underestimate the cultural value of the magazine” (Par. 2). I think what Shekhar Deshande was trying to say was that the information on these magazines are very factual and valid. Also pretty entertaining too I might add. Deshande later stated, “One of the clever ways in which National Geographic magazine constructs the image of the other, thereby providing an occasion for identity formation to its readers, is by representing a combination of the traditional and the modern or the Western” (Par. 16).  What Deshande was trying to say by this is that national geographic has clever ways in which they construct the image of something. Also they are relating the modern to the western in the last part of this quote.

The Confident Gaze

In the article by National Geographic’s titled, “The Confident Gaze” by Shekhar Deshpande. Deshpande talks about how a photograph may look amazing and beautiful, but there is also a deep and more than likely dark story behind what lead to that photograph. In the article it’s mainly referring to what India is like compared to what it used to be since it’s “turning 50”. There was a statement that came off to me as somewhat truthful when it comes to many magazine photographs. Shekhar states, “Human suffering becomes worth a good image”. (Par 10) What he means by this quote is the more the countries population is suffering the better it will look in pictures, and even if the situation of the photo may look beautiful, you have no idea what the back story could be behind that photograph. What I mean by this statement is, when you look at a country and see the people suffering it could be for many reasons, one could be from losing a loved one or from losing a home. Photographers will take advantage of these situations so that they can find an interesting photograph that will make their boss’s happy. I believe that some photographers only care about what will make them money and get them fame. There was another part of the article that really caught my eye. It was the quote by Deshpande that stated, “But while it covers or represents such issues or situations, it can sanitize and even beautify the blood and the gore of the conflict”. What I believe Deshpande is saying is, by capturing a photo no matter what is going on in it. Wither it be bloodshed or sadness a photo can turn into beauty no matter what it looks like the people are doing. What I mean by this is, a photographer has almost a direct ability to make a gruesome and horrible situation look radiant. Overall the article opened my eyes to what photographs can really turn out to be, and even if a photo may look appealing it could also have a totally different story behind it.

Deshpande Summary and Quotes

Shekhar Desphande in his article “The Confident Gaze” describes how the National Geographic magazine throughout the years has used mostly images to obtain the attention of the people who buy the magazines or the people in the western culture. The pictures on the covers of the National Geographic magazines are what get the attention of the buyers, even if they don’t always represent accurately what is really happening when the picture is taken. The article starts out by describing the issue “Little India” that was released in July 1997 because India had turned 50 years old as an independent country. The cover image of that issue is of a boy with red paint all over his face which would mean that he was celebrating something at a festival and probably having a good time. In reality the picture represents something else. What is seen on the picture is a very thin tired looking boy. He also looks sad and has wrinkles on his face. If this picture was of a normal looking boy in a normal place then the image would have nothing special about it. Like Deshpande describes that “Human suffering is worth a good image”. Deshpande is saying that once people in the western culture see something unusual or someone who going through pain on an image; then it is worth checking it out because it is not something we see every day.
Deshpande goes on describing how the National Geographic magazine mostly gets its information across through pictures. Deshpande says that “National Geographic is known as a photographic magazine”. So in other words Deshpande is saying that to the people who make the National Geographic magazines really care about what images are included in their magazines and what they represent. If the images aren’t good, then no one will be interested in buying the magazine. In order to sell more magazines the photographers stretch the truth on what the images really represent.

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Shekhar Deshpande has written an article about how National Geographic Magazine attempts to portray foreign countries to the “western eye” and how a good image/photograph becomes more important than the actual problems surrounding it in “The Confident Gaze”. Deshpande claims “this power to transform the most repulsive results of human actions around the world into images that digestible is what makes for the culture of National Geographic.” (Deshpande 2) The essence of Deshpande’s claim is that National Geographic Magazine is able to transform images that are not the most appealing but the photographers are able to show the less “repulsive” aspects of a photograph and instead emphasize the more appealing features to appeal to the western eye. Deshpande also states in his article “Human suffering becomes worth a good image.” (Deshpande 2) Deshpande believes that photography is very important in America and images are very powerful. To get a good photo, if human suffering (such as poverty, famine, natural disaster) is a part of a quality image, then human suffering is acceptable to those who take it. I believe that National Geographic magazine does a pretty legit job of photographing the world and the inhabitants of it. This magazine gives us a window to other places around the world and I think this is a very cool and amazing tool which we have.

The Confident Gaze

                In Shekar Deshpande’s article “The Confident Gaze” he explains how because the Western world cannot handle the actuality of third world countries, magazines like National Geographic somewhat “sanitize” their photographs. Deshpande uses a National Geographic magazine that was published in 1997 on India’s 50^th year of independence. The cover of the magazine is the picture of a young boy painted in red paint staring curiously and intensely into the camera. He suggests that “[t]he “innocent” attractiveness of the photography of National Geographic, its ambiguous representation of the knower and the known as the most “natural” and inevitable parts of our world are what have made for the success of the magazine (par. 7). In other words National Geographic has caught on that in order to catch the Western viewer’s attention they need to make aesthetic situations out of the uncomfortable and different elements of other cultures. With National Geographic photographers often are taking images out of their original context in order to make the world a happy place for the Western eye. This gives the magazine the power to transform the images that no one wants to see into images that are considered beautiful representations. As Deshpande puts it, “[i]t is as if that world needs to be posed in the appropriate way to the Western Observer, he could not see it in its bare essentialities” (par.  12). National Geographic in a way poses its pictures to be both pleasurable to view and still have the ability to tell the story of the “other” world. 

Nation Geografic's India vs. India's India

The confident Gaze by Shekhar Deshponde brings to light an important issue. He has an extreme claim that National Geographic is covering up truth and exploiting people all over the world for the pleasure of the western eye. Deshpodees article highlights the magazine's May 1997 issue India turning Fifty . Deshpone accuses the photographers of not telling the whole story. He says, "From he worn out bricks to the tobacco stains on the teeth the photographers are rich in their content, but entirely dishonest in their relationship to the environment or the context. It is as if that world needs to be posed in the appropriate way to the westerns observer, he could not see it in it's bare essentialities"(par13). He is saying National Geographic is misrepresenting reality. The pictures in the magazine are all about looking beautiful and artistic. One example of the artistic photograph is on the cover of the India Turning Fifty issue. The picture is a close up of a boy covered with red Holli paint. The image has sharp eye catching contrasts with the boys clear dark eyes, the red paint and a rustic grey wall behind him. To the western eye he looks so interesting and mysterious. This sets him apart as different. Set against the grey wall it seems his life is rustic and definitely not modern. The boy has a sort of curious look on his face that could make the westerner feel like he is unfamiliar with the technology of the camera. All this makes for a strikingly interesting image. Look a bit deeper. The boy must be around 9 or 10 at least. It doesn't look like he is having fun but from the paint you can tell is must be the religious holiday were you go around throwing colorful paint on everyone. The boy looks so unnatural standing there not smiling. He should be running around throwing paint on people with his friends. look a bit deeper still. The boy's thin hollow face looks like he is probably malnourished. His lips look cracked and dry which might indicate other heath issues. But the picture is not saying "help make sure this boy has clean watter" it is saying "Look how exotic he is". Deshponde comments that. "[National Geographic] is quite sensitive to trouble spots and trouble contexts; it dose not pretend to evade such situations. But while it covers or represents such issues or situations, it can sanitize and even beautify the blood and the gore of the conflict"(par12). Deshpode goes on to accuse the west of using suffering as entertainment. Concerning the article on India he says. " It provides innocuous details of life in India, without any reference tot he real troubles of the people or the global conditions in which the country is implicated in"(par20). He is saying National; geographic has a very narrow lens and is not helpful to truly understand what is going on around the world.

Deshpande-summary

Jesse Conroy
English 100/0

In Shekhar Deshpande’s Article, The National Geographic’s misty lens, Deshpande claims that the National Geographic deploys us images that we as a western culture will find entertaining. The images show how unlike us the rest of the world is and often suggests this in a way that promotes “they” should be like us. Deshpande uses a National Geographic volume called India Turning Fifty to support his claim. Deshpande states, “The poverty in India, long a favorite and often the only reference for Western audiences is transformed in the pages of the magazine into an observable commodity.” The poverty that takes place in India, according to Deshpande is used by National Geographic’s photographers to develop scenes that will catch the American eye. Whether it be at home or on the table of a dentist office, the magazine pictures can be viewed without being introduced to the conditions the people in the pictures are subject to. Desphande says, “This power to transform the most repulsive results of human actions around the world into images that are digestible is what makes for the culture of National Geographic.” The gleaming pictures in the print of a National Geographic magazine are made to look beautiful even when their subject is not. National Geographic uses this style of photography to sell their magazines. Deshpande states, “It provides innocuous details of life in India, without any reference to the real troubles of the people or the global conditions in which the country is implicated in.” Deshpande is explaining how the pictures are showing us what life is like in India. The pictures cannot show the whole story however. They leave out the poverty and the pain and suffering that comes with it. Westerners often relate to these pictures by seeing how different these cultures are from theirs. Deshpande goes on to say, “The wars and the subsequent arms race since Independence are less important than the plight of urban poverty. The regional conflicts are more important than the difficult conditions of the people in keeping pace with their material wealth.” Most Americans enjoy their lives when they have obtained what we was westerners believe will make “one” happy. Examples of these things are jobs, cars, houses, jewelry and the list goes on. Our material dependency sometime leads us to believe that other people, even the ones in India are looking for the same happiness. When we pick up a volume of National Geographic and view its pictures we miss the importance of what is really going in the scene. We are entertained by the pictures beautiful print and its majestic images. We relate to the scene in the wrong way by comparing these people to ourselves.

“The Confident Gaze”

In Sekhar Deshpande’s article, “The Confident Gaze,” it explains how National Geographic is a magazine that tries to appeal to the western eye as it portrays life in foreign parts of the world. It explores cultures and religions as well as individual people, mainly exploring their daily lives and the poverty they live in. Deshpande claims, “This power to transform the most repulsive results of human actions around the world into images that are digestible is what makes for the culture of the National Geographic” (par. 12). By this he is claiming that National Geographic is so famed, because it can turn almost any picture or circumstance into a beautiful and correctly represented way. It turns death into something beautiful. It turns life into something magical. Later on Deshpande claims, “It is as if the world needs to be posed in the appropriate way to the Western observer, he could not see it in its bare essentialities” (par. 13). He tries to explain that the photographs aren’t raw pieces of footage, but are rather thought out and posed. They are fabricated in a way to be acceptable to the eyes of the Western world and in a way to not offend but beautify other cultures. These photographs may not show entirely the foreign world, but they help broaden views about life that is foreign to our own. Some people may argue that posing and fabricating photographs to beautify cultures, takes away from the reality of the situations. I hold that it may take away from the complete reality but it helps broaden the Western worlds views in a way that is not to radical, yet just harsh enough to get the point across which is ultimately what the buyers want.

Deshpande

In the article "The Confident Gaze" by Shekhar Deshpande he talks about the subject of National Geographic and how they sanitize their photographs so they capture the eye of the reader. Deshpande explains how the magazine is such an accomplished piece then goes on to the darker side of it. He explains a photo taken in India as Deshpande puts it, "the section shows the Western white man resting on the side panels of the vehicle while three young women from the hills of the North serve as his 'props'."(par 5) What Deshpande seems to be doing here is he is seeing the photograph as prejudice. His article then explains that there is an innocent attractiveness of the photography from National Geographic. In Deshpande's words, "It attempts to sanitize and universalize the incomfortable as well as different elements of other cultures."(par 8) What he means is that National Geographic makes the rest of the world look like good to the Westerner's eye. They can make the worst things like the wall between Palestine and Israel look good for the white man's enjoyment. In Desphande's view, "Human suffering becomes worth a good image. The hunger with which the photographer's eye looks at the world consumes those images that are transferable into a nascent and yet techincally perfect photographs."(par 10) Deshpande's article goes on to explain how these images gives power to the magazine. When they are photographing something terrible they just beautify it for our eyes so it is as Deshpande says "digestible"(par 12). This makes the photographs dishonest and the content is warped. Deshpande states, "This power to transform the most repulsive results of human actions around the world into images that are digestible is what makes for the culture of National Geographic."(par. 12)

despande summary

The article “the Confident Gaze” by Shekhar Desphande,  he talks about National Geographic and their photography.  In the beginning of Desphande’s essay, he shows a picture of the front cover of a National Geographic magazine. The photograph shows a close up of a Indian child’s face. The child is painted red all over. The title states that this picture is used for “India turning fifty” Desphande claims, “it does not pretend to evade such situation. But while it covers or represents such issues or situation, it can sanitize an even beautify the blood and the gore of the conflict.” (par. 12). This states that although the pictures show real life struggles and conflicts, used for the readers information, the photograph can be so amazing to the point to where the reader is so amazed about the photograph that the reader forgets the meaning of the picture. Desphande also states that “it is as if that world  needs to be posed in the appropriate way to the Western observer” (par. 13). This also states that the picutures used in National Geographics about other places in the world other than the “westerns” (America), should look a certiant way. It should be looked as if America is better than the other places photographed. In conclusion of Despande’s article, We use National Geographic  to imform us about what is going on around the world, but the pictures tend to be giving us false information.

The Confidence Gaze Summary

Back in 1997, there was an issue of National Geographic where the main article was about the birthday of India's Independence entitled on the cover of that issue which was "India Turning Fifty." In the article, it portrayed very detailed pictures of what India was like in that time.

One person that goes by the name of Shekhar Deshpande made an article, more like an explanation on the photos taken in that article. What he talks about in his article called "The Confident Gaze" is how people like you and I, who live in America, are part of the "Western Eye." What this means is that our culture here of course different to the culture in India, we find ourselves to say we are doing fine and the world around us is doing fine as well. Obviously, prejudice exists in the Western World as well, described in Deshpande's artice, he is describing the photos in the article, what he describes sounds more like something that would be appealing to those in our culture. "The photograph from the album of their correspondent-photographer that begins the section shows the Western white man resting on the side panels of the vehicle while three young women from the hills of the North serve as his "props." The most "attractive" of these women is looking at the camera, with a posture that seeks approval, while the other two prefer to transfer to transfer their connection to the camera through their steady look at the more attractive and more confident companion" (Paragraph 5). To most, if not all, of the people who live in the Western Culture (i.e.America) find this photo described in the article quite appealing and rather entertained by the photo. We believe by the photo, we assume that if we ever intend on moving or traveling to there, we are to be within attractive women and living the life of luxury. For those who think realistically, or live in the Indian culture itself, that is not how life is over there in India, and thus people think differently of each others cultures. Whereas there is in fact a different angle that the photographers can use where Deshpande says that "Human suffering becomes worth a good image" (Paragraph 9). Shown on the cover of the magazine of that issue, it shows a child that has a look of fear and curiosity in it's eyes, as well as has the look like his face is eroding due to the poverty in that country. This does in fact have more of a realistic look towards their culture but can however be simply over-exaggerated. Deshpande also stated that the "Constructions of self-identity comes through a representation/images of the other" (Paragraph 14). Later on in the same paragraph he explains that by looking at these pictures of "The Third World" culture India is known for, Deshpande says that the pictures explain what we would have been what the pictures portray if we did not advance or evolve into a society or "civilization" so quickly.

The Confident Gaze Summary

Shekhar Deshpande wrote an article, "The Confident Gaze," about National Geographic and the Western culture. National Geographic has many magazines and is regarded to be a good substitute for not actually going to other countries. One issue of the magazine is for India's 50th anniversity of getting independence from England. The cover features a photograph of a child's face covered in a bright red color with a gripping gaze. Another photo is of a white man leaning against a car with three women in the background. Deshpande goes on to say how photographs can make the world seem like a happy place, especially for the western culture. Also, photos can make scenes of bloody conflict less repulsive. Deshpande states in his article,"Huma suffering becomes worth a good image." (Par 10) What he means is that for the western culture, a photo that displays human suffering can be a good photo, that doesn't mean the act that causes the suffering will make a good photo, just human suffering itself. He then says that those photos make the magazine so popular. However, the photos are not in its true form. Most of the photos are posed and the scenes are manipulated to make the image more likeable. This gives the idea that the world needs to be changed for the Western observer so he doesn't see what's really going on. Deshpande continues his article by explaining how National geographic uses its photos of primative cultures to give us a reference on what cold have been if we didn't progress, and the issue about India's 50th anneversity monitors its way towards westernization. Deshpande states, "But a simple equation "on our terms" would make this magazine blatantly ethnocentric." (Par 17) If the magazine were just about how India is becoming more like us, then it would be slightly narcissistic. However National Geographic deals with that by adding things that are seen a "Indian" in its pages. Also, India is covered by National Geographic more than most other countries, except Japan, so 50 pages is reasonable. It tell of the lifestyles of the people without telling of the problems that they have. Its almost like they focus on the good things and just skip the bad parts.

Summary: Deshpande

In this article of National Geographic, Deshpande discusses photographs and how they affect our lives. More spefically, how photographs can influence our lives. Westerners like to think that they are perfect, non prejudice people. In reality, everyone judges another culture just by what they have heard. You see something different and you immediatlely judge it, whether you mean to or not. By looking at photos however, you see the beauty in something that isn’t so beautiful and you don’t feel as bad. As Deshpande says, “issues [or] situations… [but at the same time] sanitize and even beautify the blood and the gore of the conflict” that the country is experiencing” (par. 12). We like to think that everything is fine when really it isn’t. We like to think that everything is beautiful when really it isn’t. Again, a quote from the article says, “human suffering becomes worth a good image” (para.10). When something looks beautiful, we forget about the harsh realities behind the image because it is easier to take something at face value than actually make a connection and realize how serious a situation is.

Recently I was introduced to the article, “The Confident Gaze,” by Shekhar Deshpande.  The article contributed a strong interpretation over the pictures National Geographic typically shares in their magazine.   Deshpande brought to my attention that “we forget that the photographs and contexts in which they are placed represent a very conscious effort by the editors to make the world a happy place and a happy place especially to the Western eye.”  Frequently photographs shown in the National Geographic are altered so it appeals to more people.  It seems as if the Western eye expects to see advancements in other countries around the world in order to be interested in a magazine.  Although done a number of times throughout each magazine, Deshpande shares a particular example from the “India Turning Fifty” article.  Deshpande states that “the poverty in India, long a favorable and often the only reference for Western audiences is transformed in the pages of the magazine into an observable commodity, polished with gleaming light and perfection of the position of the objects, their eternal “readiness:” at being photographed.”  Though the pictures may be real they are not natural.  A classmate of mine even pointed out that the cover of “India Turning Fifty” was very much posed.  The celebration that took place when this photograph was taken, is a joyful time, so it makes no since to show an isolated boy staring into the camera lens.  The photograph was able to capture the reader though, which is any magazines ultimate goal.

Summary: Deshpande

In Shekhar Desphande’s essay “The Confident Gaze”, the photographs in National Geographic magazine are the focus. Desphande starts by introducing issue of celebrating India’s 50^th Anniversary of Independence. An Indian child with his face painted red graces the cover. Desphande claims that National Geographic magazine has the power to report the “issues [or] situations… [but at the same time] sanitize and even beautify the blood and the gore of the conflict” that the country is experiencing (par. 12). This claim is significant because he argues that this magazine is praised for educating America about the world and its culture but the photos that are included do not portray the reality. He also claims that although we admire photographers and what they are able to give readers, in terms of culture, “we forget that the photographs and contexts…represent a very conscious effort by the editors to make the world…a happy place especially for the Western eye” (par. 9). This is significant because it emphasizes the idea that although photographs are something that our society treasures, we may be cherishing the wrong values. Desphande argues that this is because “the photographs are rich in their content, but entirely dishonest in their relationship to the environment” (par. 13). Another point of Deshpande’s was the concept of the “Third World” and how National Geographic portrays it as “represent[ing] the backwardness in time and accomplishment to the West” while also “providing images of what ‘would have been’ if” they had not taken the steps toward being more Western (par. 15). This text concentrates on the power that photographs, especially ones in National Geographic, have on us as Americans. We depend on this magazine to inform us about the world through photographs, but if it is unable to provide us with legitimate and truthful images, it is not doing its job.

Deshpande Summary

In the article “The Confident Gaze” by Shekhar Deshpande, it talks about how National Geographic magazines undermine other cultures. In the beginning, Deshpande explains about how National Geographic seems to be on the counters of Middle class parents or teachers of anthropology or that they lie around in dentist offices and insurance agents. Basically, he explains the stereotypes of who reads them. The specific article that he elaborated on was the issue: “India: Turning Fifty”. The cover page was an Indian boy who was covered in red, mostly likely due to the celebration, but his eyes were extremely bold and “striking” (Deshpande p4). Then Deshpande continues with the analysis about the images that the photographer took for the magazine. Deshpande thinks that National geographic is only successful due to the “natural” representation of other places of the world. But this only works because they clean and polish it to look nice, the opposite of what the reality really is.Photography can sometimes fog up the true meanings that lie beneath. As Shekhar Deshpande states “it attempts to sanitize and universalize the uncomfortable as well as different elements of other cultures.” Deshpande discusses here about how photography from National Geographic is trying to almost fade out the bad parts or sensitive parts of cultures because it’s uncomfortable for us.
It makes a blissful scenario in which, to the Western eye, makes it look happy or pleasant. We look at the problems around the world comfortably on our couches without being troubled because of the way the photographs are taken. Another claim Deshpande makes is the fact that human suffering starts becoming something that we can use as a valuable picture. As readers, we find ourselves more intrigued by the wretched for many reasons. Also Deshpande elaborates, “Human suffering becomes worth a good image”. In other words, suffering from others invokes a spark of curiosity towards us and that's how magazines like National Geographic can reel readers in. The suffering of others makes a good picture because it's more "interesting" to read rather than something wonderful in the world that is going on. Or maybe because of the suffering, it lures more readers in to make them feel sorry in a way.Human suffering can bring in people’s attention rather than something else that is going well in the world. He also says that the magazine is sensitive to some parts of topics they discuss. For example, it beautifies and sterilizes conflicts and blood from the situations. The magazine is detailed in the misery of their conditions, but Deshpande says it cannot be this way. He says that National Geographic of known for their photographs and that is where the big impact is made. Another issue Deshpande makes is that even though India has made 50 years of independence, the magazine is still making a relation in which we are comparing their success to our standards or technology, democracy, and etc. Lastly, Deshpande makes the point that regional conflicts are more important than keeping up with their material wealth.

Deshpande Summary

Shekhar Deshpandes article “The Confident Gaze,” focuses mainly on the National Geographic magazine and the incredible lengths its photographers go through to capture the right kind of image they desire. They want these photos to capture the attention of westerners that seem to have very low interest in the truth about the people and places surrounding them. Deshpande claims “From worn out bricks to the tobacco stains on teeth, the photographs are rich in their content, but entirely dishonest in their relationship to the environment or the context. It is as if that world needs to be posed in the appropriate way to the Western observer, he could not see it in its bare essentialities.” The first part of this Deshpande is saying that the photos taken by these people seem to be very rich in culture and other areas but what they are portraying is not real, it’s merely a cover or a trap to get the attention of people. The second part of this is that in a way photographers only do this because many are so absorbed in their own minor problems or the surrounding and areas in which they reside that there appears to be nothing else wrong in the world that’s to take notice. Deshpande also claims that “Human suffering becomes worth a good image.” The point being made is that photographers will go to any extent to show the kind of pain, happiness or emotion that they are looking for. I believe there’s really two ways you could look at this, it’s either westerners fault or the photographers fault, but really they only do this to capture the attention of westerners. Although it may sound demeaning, it’s just as Robert Scholes claims in his text “On Reading Video Text”- “This is, of course how America works.”

Deshpande Summary and Quotes

In Shekhar Deshpande’s article, The Confident Gaze, he tells his readers how National Geographic uses photography to lure oneself in; piquing curiosity to open the cover and read. A startling photo on the front of the magazine intrigues people to want to read more and gather knowledge on who, what, when, where and how. One of Deshpande’s claims is “human suffering becomes worth a good image” (para.10). The “power to transform” as Deshpande states, is used to clean up bad images and make them more “lookable” to the people reading. It belittles the actual dead reality of that horrific event or happening in that place. In some ways, Deshpande hints that National Geographic takes one thing and disguises the truth so that Western audiences are more comfortable with viewing that specific picture. Deshpande goes through many different claims that lead up to one big complex claim which is at the end. It states: “One feels great for having encountered one’s faint and fuzzy prejudices in palatable language and one feels good because we know that the country has done a lot of catching up in 50 years, but it has a lot of catching up to do if “catching up” has to mean something” (para. 20). Deshpande focuses on how National Geographic photographers “play with” or “edit” their pictures to make them seem not so bad. Photography is posed; in some ways photography makes death become a piece of art instead of a report of tragedy.

Deshpande’s Summery with quotes

Summery: Shekhar Deshpande’s article, “The Confident Gaze” is about what National Geographic does to get the pictures that everyone wants to see. Deshpande himself says, “[h]uman suffering becomes worth a good image”. In other words Deshpande believes the photographers for National Geographic will do anything for a “good” photo. I don’t think National Geographic should take pictures that aren’t real or are misleading because we need to know the truth about human suffering so we know how to help those who are suffering. Deshpande says “It is slick, it is technically flawless or even adventurous, and it attempts sanitize and universalize the uncomfortable as well as different elements of other cultures”. In other words Deshpande believe we try to change whatever we think is not “normal”. I think we are stupid to want to change other cultures because people take pride in their own culture and I don’t think it is are right to take that pride away. Deshpande goes on to talk about how National Geographic beatifies situations so they don’t look as bad. They are censoring what we see and not showing us gruesome details. Deshpande explains how the western culture sees other cultures and how judgmental we are. If we don’t like something, we change it. How can we change cultures that are not our own? Deshpande implies that the only thing National Geographic wants to do is satisfy the viewers. I think National geographic can do this with out falsely representing what is really going on in “third world” countries. One of Deshpande’s main points is to respect the “other” world. I don’t think other countries will let you change their culture if you don’t even respect their culture.

Media Watch Summary

Henry Petersen

English 100O

November 14, 2010

In the article about our beloved magazine the National Geographic, Shekhar Desphande paints us a picture of India and its inhabitants mainly of how they are portrayed through a western eye. He begins with giving credit to the magazine on how well it has educated the world. Then immediately gets into the intense looking little boy on the cover of National Geographic. As far as photos go Desphande states “The identification that the reader is expected to have with this photograph has to be with the confident and accomplished posture of their own man in India”. So not only are the readers of this magazine seeing something as how India has supposedly changed the men into these symbols of confidence in India, but Desphande goes on to say how the women in the photo are simply being exposed to an alien world. In the article in the magazine, India is depicted as a confident country that has changed many a time, but the women are still used as tools, the men are still all powerful, and still aren’t used to seeing the world if technology. Photographs of the world shown through national geographic are meant to be seen by a variety of age groups, and the people in America that read these articles, expect a certain level of humility towards the readers. They don’t want to see too much of the realism that is happening in our world, but they want to see just enough so that their thirst for adventure is quenched. As Desphande puts it: “It is slick, it is technically flawless or even adventurous, and it attempts to sanitize and universalize the uncomfortable as well as different elements of other cultures.” To see the people of India suffering from poverty or possibly starvation, these camera men are directed to take the best possible shots from which can be shown to the Western Culture with an approving eye. The contrast of American culture and India’s is of astronomical difference. Where America has a happy go lucky “looking” lifestyle, India is just figuring out what the country itself needs to do , in order for it to prosper. It’s as though the people of India are portrayed as lesser mortals in America’s eye’s. Or possibly as savages. Seeing the people and the way they live, and then looking up from the article to see your favorite football game is on, you can’t help but notice the difference. Seeing the world through a camera lens wil only show you so much, but this is what National Geographic wants. Desphande describes what the magazine is willing to do in order to get a good shot, and what the viewer is expected to see. He states “It is quite sensitive to trouble spots and trouble contexts; it does not pretend to evade such situations. But while it covers or represents such issues or situations, it can sanitize and even beautify the blood and the gore of the conflict. This power to transform the most repulsive results of human actions around the world into images that are digestible is what makes for the culture of National Geographic.” To sanitize bloodshed, to beautify poverty, and to make it seem like everything is right in the world is just what America wants. Through our eyes, life in and of itself aren’t all that bad, but if we were to see what the camera man is shooting exploiting the people all around the world trying to get approval from their employers back in the states. Its as though our western culture is not yet ready to see what the world is truly like, if a family is watching national geographic on their television and they donlt like what they see they can simply change the channel. In the magazine the camera men do it for us. Through exposing India through a magazine that is read all around the world, primarily the United States we will only learn what the magazine shows us. All in all Desphande depicts the world of India with an honest eye for detail, not only does he explain how much we are shielded from the true India but of how long this has been happening. We have it pretty damn good in America, but Desphande just wants us to realize that the world isn’t as bright, colorful and happy as we have been seeing it.

A Reflection on Selfe

three Narratives, The “Global Village’ And The “Electronic Colony”, “Land of Equal Opportunity” and “Land of Difference”, “The Un-Gendered Utopia” and “The Same old Gender stuff.” this article focuses on the conflicting ideas that technology will improve our lives and that we fear the change it brings and how these ideas affect educators.

Selfe explains,“This chapter will attempt to illustrate the ways in which change is modulated and complicated by forces of stasis by forcing attention on a series of images that come from commercial advertisements about technology. These advertisements reflect a portion of our collective American cultural imagination about technology….they reveal us, as Americans to ourselves.”(par10) She implies that our view of our self has been compromised. We dream of a "global village" and "world harmony."But when it really comes down to it a global village “suggest the possibility that Americans could be asked to relinquish their current privileged status”(par13)Says Selfe and that is wear The “Electronic Colony” comes in. In reality “…while we maintain the vision of linking people around the world, we imagine ourselves, not as simple members of this electronically constituted village, but rather as discoverers of the village, explorers of it’s remote corners, and even colonizers of it’s exotic peoples.”(par15) Americans take the high seat once again. We are the "suppliers".
In our advertisements we have exotic images of traditionally dressed ignerent savages.
We remain disconnected and above them. our ads are “…illustrating how generous Americans can be in providing other needier countries with useful technology, and providing the story a potent cumulative power.”(par30) says Selfe while pointing out our racism and how many ads are amplifying it in a subtle way. “Technology is not the solution for all the worlds problems-and indeed, it might well be a contributing cause to many of them.”(par33) she suggests. "Equal opportunity.... Americans like to believe is open to everybody."(par36) There is a story told to us over and over again about hard work and Fair Play. It's the story of the golden times in the 1950's where the idea was to help everyone be just like us as westerners. We use images from the 1950's to advertise things like “…citizens of the twenty-first century can achieve the same kind of happy security and personal well being that was enjoyed by citizens of the fifties-by purchasing a software package rather than a new home.”(par41) says selfe pointing out an ad featuring a nuclear family with the slogan "How to keep up with the Joneses, the Gates and your kids." Selfe is challenging us to look at this critically. As Americans we have no background of a real global village or true equal; opportunity. We have a society of the “Limited privileged.” Reality can be confusing and difficult to discover when you grew up thinking the opposite.She goes on to address Gender roles. We tell ourselves that computers are a tool to be used to enhance the lives of men and women equally.But Selfe points out that “Computer games are still designed for boys; computer commercials are still aimed mainly at males; computing environments are still constructed by and for males”(par44) we are ignoring that these differences are there. the basic idea is that “Men use technology to accomplish things; women benefit from technology to enhance the ease of their lives or to benefit their families” (par52) she admits there are exceptions but this is pretty much how it is. The ads show Beautiful women advertising sleek computer screen but no key boards.

Contrasted by ads of serious business men ready to work with their computers. Selfe says educators goals should emphasize "The importance of educating students to be critically informed technology scholars rather then simply expert technology users."(par63) She ends extorting educators to challenge their students and promote positive change.

Lest WE Think The REvoltion Is a Revolution

--Had to retype since my computer erased it all without warning

In Cynthia L Selfe’s book she mainly states that images of technology are changing our ways of thinking. In a section of the paragraph Selfe states that “Men use technology to accomplish things; women benefit from technology to enhance the ease of their lives or to benefit their families.” What Selfe means by this statement is that men use technology to make a living and to make the money in the house, while women use their technology to cook, and clean for their families. The roles back in the fifties have changed gradually throughout the years and many of the things that were introduced then have changed a lot now. Selfe doesn’t just talk about how gender roles were an issue. She also talks about how women back in the fifties were judged mainly for their beauty. In car ad’s for example they used women to try and sell the car, now a days you’ll watch a car commercial and notice that they mainly talk about safety because it’s the one thing that people seem to care about more than ever. She also says how we hope computers can help us make the world a much better place for us to live in, and hoping one day students will be able to be productive in the classroom. What she mainly means by this is that she hope that with the technology we have now that we will someday be able to change the world for the better. In relation she also says, “One of the most popular narratives Americans tell ourselves about computers is that technology will help us create a global village in which the people of the world are all connected—communicating with one another and cooperating for the commonweal.” What she mainly means by this statement is that one day we will be able to get along with everyone because of the technology we have.

Claim: Americans used to only care about what men wanted in the fifties

Cynthia Selfe

A.)       In the essay, “Lest We Think the Revolution is a Revolution”, Cynthia L. Selfe explains that technology is bringing us out of the past and forming the future. In the first narrative she talks about how the “global village” and the “Electronic colony” will bring us peace. This is supported when Selfe states, “the computer network that spans the globe will serve to erase meaningless geopolitical borders, eliminate racial and ethnic differences, re-establish historical familial relationship which binds together the peoples of the world regardless of race, ethnicity, or location” (Selfe 294). Since America is having a hard time bringing us peace, technology will do it for us. That is basically what this claim is suggesting. The “global village” which is the internet leaves out things like racism and by doing so eliminating peoples differences which will in return bring peace towards everyone. That is the means of the global village but the “Electronic community” seems to be a little more realistic if you ask me.

            In the second narrative, “Land of Equal Opportunity” and “Land of Difference” is introduced and has a different idea of things. It is saying that there is openness to it, and that any American no matter what race or gender is included in the principles of fairness towards things. It is basically the opposite of what the first narrative is stating. Narrative two is saying that no matter whom or what you are; technology will always be equal to you. Narrative three talks about the “Un-Gendered Utopia” and the “Same Old Gendered Stuff”. This Narrative is focused on genders and how technology can change passed stereotypes. Women are stereotyped as stay at home moms while men are stereotyped as being a working man who is in charge of supporting their family. Technology is trying to help change the views of people who believe these stereotypes and make it so that man and women are looked upon as equal.

B.) Claim #1: “In this story, Americans use technology to become world travelers, to learn about—and acquire knowledge of—other cultures, while remaining comfortably situated within their own living rooms and, thus, comfortably separated from the other inhabitants of the global village” (pg. 296-297).

Evidence: Cynthia L. Selfe supports this claim by showing us an ad that says “Welcome to the planet. One tribe. One world atlas.” This ad is covered with foreign icons and pictures relating to different parts of the Earth. Americans can find this on the web and feel like they are acquiring knowledge of other cultures while sitting comfortably in their homes in front of their computer.

Claim #2: “It is clear, for instance, that fewer girls use computers in public secondary schools than do boys, especially in the upper grades, fewer women enter the advanced fields of computer sciences than to males, that the computer industry continues to be a space inhabited by and controlled primarily by males. (p.306)"

Evidence: This essay was written back in the 1990’s where computers were still a pretty new invention. Since men invented the computer, it was aimed more towards pleasing their needs. For example computer games were designed to be made for the man’s enjoyment. You didn’t see too many women playing video games on their pc. This is why there were so many more males using computers in secondary public schools than there were females.

Selfe

In the book, “Lest We Think the Revolution is a Revolution” Cynthia Selfe talks about the effects that technology and the internet are having on Americans and the problems that there are to technology. Selfe first begins to talk about how Americans believe that technology is that savior to our problems around the world and that Americans embrace the growth of technology and all its advancements for that reason. “Because our culture subscribes to several powerful narratives that link technological progress closely with social progress, it is easy for us-for Americans, in particular-to believe that technological change leads to productive social change.” (Selfe 293) Selfe is trying to say that most Americans believe that since are technology is growing that our world will grow in to a better and mature world. Selfe also explains her thinking on the “global village” and “electronic colony”. One of the most popular narratives Americans tell ourselves about computers is that technology will help us create a global village in which the peoples of the world are all connected-communicating with one another and cooperating for the commonweal. Americans believe that they are the founders and explorers of this new territory. “In the global village narrative, for example, while we maintain the vision of linking peoples around the world, we imagine ourselves, not as simple members of this electronically constituted village, but rather as discoverers of the village, explorers of its remote corners, and even colonizers of its exotic peoples.” (Selfe 295) Americans feel as if they are the ones to spread this new found knowledge and better the world but Americans are also afraid of “losing the economic benefits that have accrued to us as citizens in one of the most highly technological nations of the world.”
Selfe also talks about how Americans like to believe that technology is open to everybody, male and females, regardless of color, class, or connection. “If citizens of all kinds are to have access to technology and the opportunities it provides, we do not see such a narrative imagined in the Land of Difference narrative: if technology is to improve the lives of all Americans regardless of race and class and other differences, our collective ability to envision such a world is not evident in these images.” (Selfe 304-305) In this quote, Selfe is explaining that even though we believe that technology is open to everyone no matter what race, religion, gender or color you are, we are not able to see this in reality but only in our minds. When we look at commercials, or ads in magazines we only see the same image over and over; the white American family or man/women. Even in or ads we aren’t able to see this equality.
The final claim that Selfe makes is the “Un-gendered Utopia” and “Same old gendered stuff”. In ads men are pictured and seen as the big dogs, they are the people who have professions and make decisions at work and at home. Women will be the “typical” stay at home mom who cleans, cooks and takes care of the children. Americans believe that the internet can help change the views of genders and make both genders equal but we are stubborn to change these views but attempts are being made.

One) “ If technology is to improve the lives of all Americans regardless of race and class and other differences, our collective ability to envision such a world is not evident in these images.”(Selfe 304-05) She proves this by the images that she shows and within the pictures the same type of people constantly occurring throughout them.
Two) “the un-gendered utopia story, encourages educators to see and understand computers as educational allies that can support efforts to create new kinds of educational and economic opportunities for students regardless of gender.” Americans believe that technology is the way to go when getting rid of sexism and giving equal opportunities to everyone regardless gender.

Selfe Summary/Quotes

In chapter sixteen of “Lest We Think the Revolution is a Revolution”, Cynthia L. Selfe starts out by describing how technology is linked to change and how it is affecting our education system as well as our everyday lives. She then goes into describing three narratives. The first one is “Global Village and The Electronic Colony”. In this narrative she gets into detail describing how the World Wide Web has helped us communicate around the globe but that it isn’t a good thing because it has led Americans to thinking that we are the leaders and the smart ones, and this will eventually make us feel superior in a way. Most of us don’t want to be reminded that the United States having only twenty percent of the world’s population consumes eighty percent of the world’s resources. The second narrative was “Land of Equal Opportunity and Land of Difference”. In this narrative Selfe describes how the myth portrayed is of men and women being treated equally, or no one being looked down upon because of their color or race. It is all just a myth though, just like America being the land of opportunity because it is that but only for some. “The Un-gendered and the Same Old Gendered Stuff” is the third narrative. Selfe talks about how men use technology or computers more than women. Also that the purposes for which each gender uses technology is different. Selfe backs up her argument with evidence in the form of picture ads.
In the introduction part of the chapter Selfe says that “When English teachers get together to talk about technology, we generally end up talking about change.” As evidence Selfe later goes onto saying that according to Moore’s law microprocessors double in speed every eighteen months. Also that English departments have changed some of the methods they used to teach. In another part of the introduction Selfe states that “Quite simply put, like Americans, we hope computers can help us make the world a better place in which to live.” As evidence for this claim Selfe says that we hope computers can make students more productive and help us communicate better.

Lest we think the revolution is a revolution: summary and claims

Lest We Think the Revolution is a Revolution
Summary

In Cynthia L. Selfe’s chapter titled “Lest We Think the Revolution is a Revolution,” she split her main point up into three smaller main points she calls narratives. In her first narrative she tries to get her point across that the internet (The Global Village) is the answer to bringing us peace with Global Technology. The internet eliminates differences like racism, sexism, and any other kind of discrimination. By doing this anyone who uses the internet no matter who they are, where they are, or what kind of person they are, are all brought together, thus bringing us one step closer to peace with the people. In selfe’s second narrative she talks about an electronic landscape that is an open space for anyone to use regardless if you’re male or female, your color, class, or connection, which is basically the same as narrative one but in a different explanation. Her third narrative is going back to gender specific roles, “same old gendered stuff”. Here she talks about how in ads men are pictured as the bread winner of the family and are hard working. And women are portrayed as the stereotypical stay at home wife who does nothing but cooks, cleans, take care of the kids and pleases her husband with a giant smile on her face. Selfe’s point is that the internet can clean up any stereotypical views of any gender, race, etc. and make everyone equal; technology will always be equal to everyone.

Claims:

1)    1)  “…if technology is to improve the lives of all Americans regardless of race and class and other differences, our collective ability to envision such a world is not evident in these images” (Pg. 304)
What Selfe is saying is that this is a perfect example of actions speak louder than words; we say we want equality for all but then our advertisements show everything but. If it were true that we wanted equality than the images that we see the most would include that equality, but instead show your classic white family who are the most fortunate. Yes technology is bringing us one step closer to that equality but with our everyday ads portraying otherwise there are a lot of mixed signals.

2) “Our cultural experience, indeed, tells us something very different- that America is the land of opportunity only for some people.” (Pg. 304)
What I believe Selfe is trying to imply is that America has this reputation of being the land of opportunity but in reality a very select few get those opportunity, and even then they take a ridiculous amount of time to achieve. We started with the slavery which ended with a war for freedom, then there were the civil rights movement which included a mass amount of protests, then women’s rights which also had a lot of protests involved. Current day America we have Arizona trying to eliminate immigration from the entire state. The opportunity is greater than most other countries but there will never be opportunity for everyone. 

Summary and Claim: Selfe

A.) The author of “Lest We Think the Revolution is a Revolution: Images of Technology and the Nature of Change”, Cynthia L. Selfe writes of image; how “they tell rich and powerful stories about the social contexts in which they are produced” and how they are “laden with cultural information, shot through with the values, ideological positions, and social understanding” (294). The importance of images and ads are what leads into her main focus of the three narratives that Americans believe technology will fulfill and the revisions that she has made to make them more realistic to our society. The “global village” is the first, Selfe states that will connect all of the people in the world as the network of computers will “[bind] together the people of the world regardless of race, ethnicity or location” (294). Selfe then contradicts this narrative with the fact that this narrative is “quite terrifying” will cause American citizens to surrender their privileged status’ and lose the economic benefits that our society has as being “one of the most highly technological nations in the world” (294). Because of these consequences, she revises this narrative by calling it “the electronic colony”. In this colony, technology is reached worldwide but “different cultures [and different people] exist to be discovered, explored, marveled at—in a sense, known and claimed by—those who can design and use technology” (295). Which means that our roles in the world stay the same; “Americans are the smart ones” while the rest of the world “are the recipients of technology and its benefits, those who use the technology that we control” (295). The second narrative is a “land of equal opportunity” that “focuses on equity, opportunity, and access” for everyone. (301). Selfe uses ads from multiple companies as examples of the lack of equity in the reality of the narrative. The images shown are all typical “American families” that represent luxury and freedom and explain “that technology uninfluenced by traditional American values can run amuck, especially in a postmodern world” (302). Selfe claims that “America is the land of opportunity for only some people” and “is a commodity generally limited to privileged groups within this country” (304). The third and last narrative is of “the un-gendered utopia” and the idea that technology will create a society in which gender roles are abolished and men and women will live equally. Selfe calls the revised edition “the same old gendered stuff” because of how unwilling our culture is to change. To have this “un-gendered utopia” we must “learn how to understand people outside of the limited gender roles that we have constructed for them in this country” (306). Selfe sums up the revised version of this narrative by stating that “the new electronic landscape retains a value on innovation, hard work and the individual contributions of people of both genders, but only as they are practiced appropriately—within the traditionally gendered contexts we have historically and culturally ratified for women and men in our culture” (307). These narratives express how much Americans expected technology to transform their culture but in reality, we let our values manipulate technology instead of the other way around.

B.) Claim #1: “We have a long and admirable history of exporting technological expertise to less fortunate neighbors…” (pg. 295)

Evidence: Selfe uses an ad that displays a member of a tribe adorned “…in ritual dress with feathers and face paint, presented as a wondering savage, vulnerable to the crueler effects of civilization…and [unaware]… of the power of the technology being used to his benefit” (pg. 296). By using the picture of a tribe member and their culture, it portrays the “less fortunate neighbors” of this narrative (pg. 296).

Claim #2: “…Americans use technology to become world travelers, to learn about—and acquire knowledge—of other cultures, while remaining comfortably situated within their own living rooms…comfortably separated from the other inhabitants of the global village” (pg. 296-297).

Evidence: Selfe supports this claim by posting an ad that clearly shows a poor attempt at creating “one world” and “one tribe”. The ad consists of “two youngsters…[presenting] a bizarre tribal image” and “scattered…postcards from exotic destinations and lists of foreign vocabulary words, two picturesque French men…and a veiled Middle Eastern woman…” (pg. 297).