Visual Communication. Janis Teruggi Page

ethics that are rule‐based; beliefs that standards are always true regardless of contexts or consequences.

      TeleologicalConsequentialist ethics that value the outcome or consequences of an act as most important.

      Categorical imperativeA concept of deontology; belief that one’s own ethical choices are universal law; one should act as we would want others to behave.

      UtilitarianismA central concept of teleology; belief that acts should result in the great amount of good for the greatest number of people.

      PluralisticBelief in several ethical perspectives and not one basic one.

      Prima facie dutiesEthical decisions that should come first; from the Latin “on its face” (at first glance).

      FramingConcept that any text or artifact is created – and presented – in ways that highlight some aspects of it while downplaying or eliminating other aspects, thus guiding readers and viewers to draw specific meanings.

SalienceQuality of how much something stands out or draws our attention.

      AppropriationThe intentional borrowing, copying, and alteration of preexisting images and objects.

      ViddingEditing and adding to existing video footage.

PRACTICE ACTIVITIES

      1 As a class exercise, take an image from the Creative Commons website (creativecommons.org) where you are legally allowed to use work as long as you attribute it. Go to a meme site and “memify” it. In teams, answer the following questions: (i) What meaning do you take from the original image and what frame did it use? (ii) What meaning do you take from the meme and what frame does it use?

      2 Either in teams or for individual assignments, find print ads or photos for ethical analysis using the Potter Box.

      3 Imagine you're on an advertising agency team with the assignment to design a campaign to discourage 16‐ to 26‐year‐old young men from drinking and driving. What frames would you consider in creating a persuasive video?

      4 You read earlier that the New York Times has one set of guidelines for news photos and another for fashion photos. Do you agree that there should be a distinction? Why or why not? Would a disclaimer or warning label help readers be more informed? In your view, do readers and viewers easily understand that fashion is a different genre and is not expected to be realistic?

      5 In small groups, review the codes of ethics of news organizations and/or advertising and PR agencies. Are these codes sufficient in an age of digital communication and highly visual programming? How are the codes different from each other? Which does each group believe is most applicable in today's media world?

REFERENCES

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      3 Baird, J. (2016). Sara Palin's mustache. New York Times, Feb. 26. http://www.nytimes.com/2016/02/26/opinion/campaign‐stops/sarah‐palins‐mustache.html (accessed February 26, 2020).

      4 Ballew, C.C. and Todorov, A. (2007). Predicting political elections from rapid and unreflective face judgments. Proceedings of the National Academy of Sciences of the United States of America 104 (2): 17948–17953.

      5  Belluck, P. (2009). Yes, looks do matter. New York Times, April 24. http://www.nytimes.com/2009/04/26/fashion/26looks.html (accessed December 29, 2015).

      6 Bird, M. (2002). Robert Capa, in focus. Time, June 30. http://content.time.com/time/magazine/article/0,9171,267730,00.html (accessed February 4, 2016).

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      17 Kravets, D. (2011). Associated Press settles copyright lawsuit against Obama ‘Hope’ artist. https://www.wired.com/2011/01/hope‐image‐flap (accessed September 3, 2020).

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      19 Lakoff, G. and Johnson, M. (1980). Metaphors We Live By. Chicago: University of Chicago Press.

      20 Lohr, K. (2012). Controversy swirls around harsh anti‐obesity ads. https://www.npr.org/2012/01/09/144799538/controversy‐swirls‐around‐harsh‐anti‐obesity‐ads (accessed September 21, 2020).

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      22 Miller, J. (2015). How Quentin Tarantino paid homage to Hollywood with his Hateful Eight costumes. Vanity Fair, Dec. 29. from http://www.vanityfair.com/hollywood/2015/12/quentin‐tarantino‐the‐hateful‐eight‐costumes (accessed March 2, 2016).

      23  Mitchell, W.J. (1994). The Reconfigured Eye: Visual Truth in the Post‐Photographic Era. Cambridge: MIT Press.

      24 Nicas, J. (2016). What happens when virtual reality gets too real? Jan. 4. https://cacm.acm.org/news/196187‐what‐happens‐when‐virtual‐reality‐gets‐too‐real/fulltext

      25 Orbach,