Comer Mary K Comer Dr.

Erin Dietel-McLaughlin Multimedia Writing & Rhetoric, Section 09 11 October 2013 What You See is Not Always What You Get Rhetoric of any medium can invite certain responses and discourage others(Lancioni 106). This essay will focus on both the initial invited responses of Charles Moores

photography and what is not seen, or rather discouraged. Capturing images of the Civil Rights Movement, Moores collection depicts the 1963 Birmingham Campaign and the nonviolent actions between black youth and authorities. While the audiences attention is initially drawn to the focal point of Charles Moores photographs, what is not seen in the frames is of even greater importance to the overall theme. Not only do several rhetorical strategies such as body position, facial expression, and contrast highlight the injustice of the situation in Birmingham that afternoon, but they also enable the viewer to grasp the reality of the image and depict a person with whom the audience can identify with. However, what we fail to see in the intended frame of each photograph speaks greater volumes about the implicit message of Charles Moores collection. As rhetorical strategies direct the viewers attention to what is initially seen in the photograph, the focal point specifically connects us to its harsh reality and our emotions as we attempt to see the situation through different perspectives. Rhetoric can be defined as how attention is created and allocated(Herrick 260). Moores framing of his photographs allows the reader to focus on the facial expression, body language and contrast as the African Americans are abused by the civil authorities. In all three photographs, the audience can sense the injustice

Comer of the situation at first glance. The frame directs our attention towards the body language and facial expression of the African Americans and helps us to further understand exactly what is going on in these photographs. The first image depicts African Americans being attacked by

police dogs and we are first encountered with a dog being restrained by a police officer. While it can initially give us the feeling that the dog is jumping out at us, we then turn our attention to the man being attacked by multiple dogs. We do not see his face, but his body positioning indicates that he is inferior to the surrounding dogs and police force. Because we do not see his face, the anonymity of the man helps us better identify with him and makes the audience put themselves in the mans situation. In the photo of the woman fighting through the water pressure, Moores frame directs the audiences entire attention on the woman. We can tell by her facial expression that she is fierce and strong, but yet in pain. The womans body language speaks volumes to the situation. She is running through the water but seems to be stuck and struggling; however, the woman does not just stand there. On a figurative level, it can be perceived that the woman is trudging through all the racism and hatred against her race as she tries to escape from the overbearing weight of the water. Finally, the focal point of the third image directs our immediate attention to the facial expression and body language of the three African Americans as they are pelted by the hoses. Like the previous photograph, the facial expressions and stance of these African Americans emulate a grave amount of intensity. The man, solely sprayed by the water, holds his position up against the building, enduring the pressure of the water. He, however, is not running away. The young man takes the hit and shows no weakness. The woman in this photograph holds her stance but her face, the only facial expression we can see, reflects inner strength even in times of fear. Charles Moores intended framing allows for the audience to only focus on the three African Americans. There are no other distractions and the only feelings one

Comer can interpret from the photographs are emulated through the African Americans. One might argue that by not fighting back the African Americans are displaying the inferiority of their race. However, to the contrary, the fact that they are resisting conveys a greater amount of inner

strength and more clearly demonstrates the extent of their civil disobedience. Regardless of how their actions are interpreted, the facial expressions and body language of the African Americans elicit an emotional response to the viewers. Not only do the facial expression and body position of the African Americans of the focal point connect us to the collection but the contrast between light and dark in the photographs also reveals an underlying theme. While the photos are all in black and white, the difference in coloration between the African Americans and the opposing force connects the viewer to the photographs on a symbolic level. In the photo of the dogs, the policemen are wearing light tops and the dog is of lighter color; however, the African American being attacked is dark. As such, in the other two remaining photos, the African Americans are in dark in contrast to the white sprays of water. In all three of Charles Moores photographs, the bright white surrounding the victim/victims turns our attention towards the abuse against the African Americans. On another level, the white in both the policemens shirts, dogs and water can all symbolize the racial tension between those of lighter and darker color during this time period. A particular frame can encourage viewers to join in the mental exercise of sifting historical evidence. and when the historical mode of representation itself attractscritical attention, viewers begin to question how what they see is supposed to prove a point (Lancioni 108). In the rhetorical situation presented in the photographs, the contrast between dark and light further emphasizes the power the Caucasian police officers exert on the African Americans. In fact, Charles Moore highlights this injustice by touching on a viewers pathos or emotions. When a viewer is able to believe a

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visual image is authentic, the power struggle between these races at this point in history becomes more realistic. While our attention and subsequent emotional reaction is focused on the central image, our focus should also turn to what is not depicted in the photograph and how it can be of greater importance. Charles Moores specific frames for each of the photos leaves the audience wondering what exists outside the confines of the photo. In the photo with the dogs, the intended frame makes the audience feel as if they are part of all the chaos. Because we do not see what the dog is moving towards, the frame causes the audience to imagine themselves as the dogs next victim. Like so, in the photograph of the woman, our focus is pointed towards her struggle, but the audience is not shown where she is trying to run. The lack of a destination makes us wonder if there even is anywhere for the woman to escape. Essentially, the woman is stuck in the deeply seeded racism of the South. There is no safe haven for these African Americans as this theme embodies the horrific situation in Birmingham that afternoon. The last photograph of the African Americans being sprayed validates how what is not depicted in the frame illustrates a central theme. If the audience were to follow the source of the water back to the hose, our eyes would end up off the page; thus, viewers are left to make their own assumptions about who is at the other end of the hose. Yet, the identity of the offender is truly insignificant to the overarching theme of the photograph. The offender instead represents a group of people sharing in the same racist beliefs against African Americans. The viewers focus in this particular instance is taken away from the focal point and instead directed to look at the photograph from an alternate perspective. The depiction of the African Americans being abused speaks of greater significance than the act itself. Instead, when analyzing how the art of rhetoric gives our private ideas a public voice, and thus directing attention to them (Herrick 17), it is evident that Charles Moore

Comer is making a statement about the injustices of the situation. Essentially, the water represents the racial discrimination, inequalities, hatred, disgust and opposition to cultural change against the African Americans in the United States. As the hose hits the African Americans back in the

photograph, the viewer can imagine all these representations of racism becoming a weight on the mans shoulders. Contrast, facial expression, and body positioning are all essential rhetorical strategies when connecting the viewer to these photographs on an entirely different level. Not only does the focal point appeal to our emotions, but it also gives us the perception that the inequality and abuse against the African Americans extends beyond the actions of the authorities that afternoon in Birmingham. What we fail to see in each of the photographs speaks of racism on a grander scale; thus, these photographs embody the spirit of the Civil Rights Movement as African Americans fought to overcome racial tensions and rid the weight of water off their backs.

Comer Works Cited Herrick, James A. "An Overview of Rhetoric." The History and Theory of Rhetoric: An Introduction. 2 ed. Boston: Allyn and Beacon, 2005. 1-30. Print.

Lancioni, Judith. "The Rhetoric of the Frame." Visual Rhetoric: A Reader in Communication and American Culture. Thousand Oaks: SAGE Publications, 2008. 105-17. Print. Moore, Charles. Demonstrators Seek Protection from the Assault by Firemen, Birmingham Protests. 1963. Photograph. Snite Museum, South Bend. Moore, Charles. Police Dogs Attack Demonstrators, Birmingham Protests. 1963. Photograph. Snite Museum, South Bend. Moore, Charles. Young Demonstrator Evading Policemen, Birmingham Protests. 1963. Photograph. Snite Museum, South Bend.