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Editor's Notes

• #2: My pilot project question is “How can an Cinemagraph as a concept of Visual Language be applied to Advertising”. In this presentation I will be discussing the history/ or rather the development of the Cinemagraph, the uses and examples. I will also look at theorist and artistic influences that helped me construct and link theory to my practical piece, in which I will then evaluate
• #3: To understand the concept of a Cinemagraph, I firstly had to go back to the origins of it’s existence- the GIF- which is animated image files that play from beginning to end, then snap back to the beginning and begin again. A GIF stands for ‘Graphic Interchange Format’, which was created by Steve Wilhite of Compuserve in June 1987. The GIF improved on black and white image transfers with 256 colours, while still retaining a compressed format that slow modems could load easily.  This format was easily seen on email signatures, web forums and social avatars.
• #4: At the beginning, the GIF had a inherent element of Fun, nothing more than a brand of web humour. Gradually as time went by Web Designers adapted the GIF and whilst designing their webpages they used them as placeholders, in the form of blinking construction signs, though due to over-using the format it yet again fell into a brand of web humour. The GFI Movement began and along with the impact-font memes and viral YouTube videos of the format, Web Users began to use it as an means of interpersonal communication on such as growing platforms as Tumblr – a Space to reflect users moods. E.g The Popular Tumblr page What Should We Call Me (2012)- which this seen the new form of communication — storytelling.
• #5: The technique of the Cinemagraph, (still photographs in which a single minor element has been animated and repeated movement occurs) was already used for the advertisement of the game Mirror's Edge back in 2008. Though it wasn’t fully recognized until photographers Kevin Burg and Jamie Beck, used the technique to animate their fashion and news photographs beginning in early 2011.
• #6: These are just some of the examples of Kevin Burg and Jamie Beck Cinemagraphs. It was only then when the fashion industry took on to this method- Brands like Nine West, Calvin Klein, and American Apparel have integrating to this format claiming that it serves to make the customers stare at the product for more than just a second.
• #7: I also looked duo photographers, Rader and Reed. Were they also see that this technique can be used as a visual art platform, in that helping make the animated GIF a legitimate photographic editorial medium. This GIF Movement- saw a portrayal of minimalist yet lifelike closed-loop animations, which make the viewer feel as if they were peeking into an intimate, otherworldly scene.
• #8: Media organizations/users of both of these formats are scrambling to figure out how to attract eyes and keep them on the page, they’ve turned to a medium from which readers can’t look away. The GIF Movement, does indicate it’s own meaning, like all visual symbols, is built through common cultural understanding, more so a element of building blocks of the Internet’s language. And now, we're using them to communicate emotions and reactions quickly. An example of this is then newly created app Pop by Oehler, Shapins and Burns – which allows users a new way to have conversations with photos, videos and GIFs.
• #9: Looking at Manovich, we see that the digital format (the GIF) is classed as a visual language in form of communication that uses visual elements as opposed to formal written language to convey meaning or an idea- therefore ability to communicate visually. This gives way to the concept of visual communication and it’s role in advertising, as through vision aid the method purely relies on vision. Therefore a strong visual communication should be able to easily convey its message to the audience, as theorist Huxley quotes “The more you see, the more you know.” Therefore applying the GIF Movement to the role of advertising should help elaborate the message intended to send through to the audience and increase the chance of persuading them to purchase.
• #10: Show practical piece. (Cinemaraph & VD 11) Whilst creating my Cinemgraph on photoshop I used the splash effect, this was influenced by Rader and Reed FREAKSHOW piece, along with Koby Inc work aswell, because as I was creating a from of communication I wanted something that would catch the viewer eye and grab their attention.
• #11: To conclude, I felt that the practical piece in the role of advertising was effective, in the way it grabbed people attention, but once gathering feedback from business owners I saw that they agreed to this method of advertising, allowing them access to promoting and advertise their products, but concluded that only buyers present in the shop would only see it, therefore this excluded access/or rather attention of new customers.
• #12: I would re-create the Cinemagrah, as it already originated from the fashion industry, therefore aiming it at another industry so it could emphasis my point. I would also re-create the piece as I could display a advertisement brand on it, therefore to indicate it’s form of communication. More importantly, I would also project the advertising footage onto the outside building, therefore this would allow the public to view the business products and interest them in being potential buyers.