The photobook is a medium used by photographers for various reasons, one being the possibility to drive their narrative in a desired direction. Graphic design can impact this narrative by layout choices that affect how the material is perceived (Badger, 2014). Since the layout and sequencing affect the photographs themselves they therefore also have an impact on how photographed subjects are represented. This thesis examines, with a semiotic analysis and a historic overview, spreads from Gavin Watsons critically acclaimed photobook Skins . This is in order to understand how skinheads are presented in the book. Three spreads will be studied based on theories of representation, narrative and layout. This will result in a subsequent discussion on the designer’s role in breaking stereotypes in design choices and the presentation of the photographer's work. Examples of related design work and media will be brought up and related to Watson's book in order to highlight how we as graphic designers can break stereotypes through visual display of the subculture. The conclusion is reached that various photobook design theories are used to represent skinheads as inclusive individuals rather than a violent group.
| Identifer | oai:union.ndltd.org:UPSALLA1/oai:DiVA.org:mau-62946 |
| Date | January 2023 |
| Creators | Begic, Marielle |
| Publisher | Malmö universitet, Institutionen för konst, kultur och kommunikation (K3) |
| Source Sets | DiVA Archive at Upsalla University |
| Language | Swedish |
| Detected Language | English |
| Type | Student thesis, info:eu-repo/semantics/bachelorThesis, text |
| Format | application/pdf |
| Rights | info:eu-repo/semantics/openAccess |
Page generated in 0.0021 seconds