Writing ImagesMain MenuBook SplashWelcomeCinematic HumanitiesFour Modes of Critical Visual AnalysisVisual Remix and the Audio CommentaryGraphic WritingThe Hand-MadeMateriality and the Reflective ViewerHolly Willisec84a525fa149f684b0800e777adb0de503d2ae9
James Benning's American Dreams (1984)
12015-11-15T01:23:52-08:00Holly Willisec84a525fa149f684b0800e777adb0de503d2ae970961A speech by Martin Luther King is laid over a sequence of Hank Aaron baseball cards and a handwritten scrolling text re-copied from the diary of Arthur Bremerplain2015-11-15T01:23:52-08:00Critical Commons1984VideoAmerican Dreams: Lost and FoundJames Benning2015-11-15T01:17:59ZHolly Willisec84a525fa149f684b0800e777adb0de503d2ae9
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12015-11-14T23:23:40-08:00Graphic Writing2plain2015-11-15T01:24:52-08:00In the second form of critical visual analysis, artists use onscreen typography, as well as images, graphics, voice and music in combination, creating a masterful example of multi-register discourse, one that invites a form of combined reading and viewing that blurs the boundaries between the two that is highly instructive for the digital humanities. The example here is James Benning’s 1984 film, American Dreams (Lost and Found).