The Face of Criminality

 What do we see when we try and picture a criminal in our mind? Understandably, many cannot help but think of mug shots, which are invariably tied to the criminals they portray. But what characterizes these glimpses into the criminal mind? One can only conjecture that every person’s story pressures their very visage in the shots so etched in our brains. There is a long history of mug shots, supported by a wide range of character portrayed in the subjects, which all culminate in creating a “mug shot culture.”
 A quick history of mug shots could not be complete without Alan Pinkerton. Credited with creating the concept in the days of the “Wild West,” Pinkerton would go on to collect the largest single collection of booking photographs of the time. Most of the pictures of this era came in the form of “Wanted” posters. As the times changed, so did the standards for mug shots. Nowadays, mug shots are taken mostly with digital cameras, and have some guidelines to follow since a change in policy in 1995. But more important than history and procedure, is a discussion on the character of those portrayed in mug shots.

 So what do criminals really feel when they are placed in front of the glaring eye of the police photographer? They sneer, they cry, they laugh hysterically, but what does it all mean? Some over-exaggerated mugs, or faces, were often used in earlier pictures to obscure an identity. More saddened shots can be seen as seeded in guilt, or possibly utter surprise. Those intoxicated are not without their own exuberant portrayal, and their pictures seep into every other category of faces. One of which is celebrities, brought down from their usual place of Godliness, wrecked for all to see. Women and children are also susceptible, and their photos are sometimes more frightening simply due to our perceptions of the world. And what could be more shocking than a picture of a man bloody and beaten posing for the police? While this is all interesting, it is surprising to learn that all these niches of mug shot photography make up a minority. For the most part, these pictures are almost a catalogue of normalcy. Most subjects are not looking to have their picture be sensational. And what is so amazing is that even so, every subject still takes on a life of their own when we look at them.

 After looking at rows and rows of mug shots, as well as reading endless analysis, it is clear that mug shots have created their own culture. They are sensationalized in every form, especially on the Internet. All of this has been spurred on by celebrity, and the search for some form of immortality. The public is invariably fascinated by these simple pictures, as they support and build our notion of what a criminal is, or the “criminal culture.”  

 So as history brings new meaning to these samples, it is imperative we see them as what they are. Whether they are incredible shows of character, or mysteriously blank slates, all mug shots remind us of the fallacies of humankind. They teach us that there are consequences. They teach us that life is not a free ride. But most importantly, they teach us that anyone, even one of us, could be susceptible to a life of crime.

Blog Questions:

Please do number 1 and your choice of numbers 2-4.

1. Regarding the presentation and research summary, is there anything that is unclear or should be elaborated on? Any thoughts you have would be much appreciated.
2. What do you think the connection is between a person’s mug shot and whether they are guilty or innocent? Is guilt shown in the pictures?
3. What do you think the cultural purpose is of mug shots? Why are many people so fascinated with them?
4. Write a short police report to go along with the mug shot picture above (in blog). Then tell what happened through the point of view of the accused in a creative piece.

A Glimpse of a Widow

How does one cope with the loss of their loved ones? Should we only look at those who have passed in the most forgiving light? How do we expect to give ourselves a quantum of solace after such a jolting event? All these questions come to pass for Suzanne Manet in Susan Vreeland’s historical fiction piece, Olympia’s Look. The story follows in the aftermath of the death of Suzanne’s husband, the famous artist Edouard Manet. In this most vulnerable of times, Suzanne is left wondering of the fidelity of her late husband, knowing that he had relations beyond professionalism with his models. Also, her business mind has taken hold of her, as she prepares to auction off her husband’s work, with her nephew Albert copying some pieces for posterity.

 It is in these early passages that the character of Suzanne takes, shape. She is a complex woman, and the story portrays her in an ever-changing light. Most simply observed is the apprehension she seems to feel about investigating her husband’s debauchery. But it remained to be seen that she also had a stronger streak within her. During an early flashback passage, Suzanne intercepts a letter quite forcefully from her servant Helene. During this time, and a few others, Suzanne compares her gestures, her very emotion to that of the model in the portrait Olympia. Such a fact is far more poignant when she finally meets Victorine, the actual model for the portrait, and continues to analyze life through comparisons to portraits. It is perhaps understandable that someone who was so entrenched in the art world would make such connections, but it also seems outside her more calculated character that has the good mind to ask for copies of her husband’s art.

 What is so touching in the piece is how Suzanne wholeheartedly loved Edouard, even knowing that he had not been the most faithful of companions. This was best showcased in another flashback, where Suzanne aids to the ailing Monsieur Monet after he has a nightmare. She calms him, caresses him so lovingly and so tenderly that it is obvious she would never leave him. It is this aspect of her that makes her character so multidimensional. She is a strong woman by all accounts, but she is weak to Edouard. This, in the end, made it so haunting for her when she realizes that she still cannot hate him after all he has done.

 Besides Suzanne, the story takes a brief look into some other players in Eduoard’s life. One of his models, Isabelle, is shown briefly in sorrow for his death. She serves as a foil to Suzanne, who feels empowered after not letting Iasabelle keep a letter from Edouard. More importantly, the story showed what became of the model Victorine. A self-proclaimed collaborator with Edouard, Victorine has lost her model’s appearance, struggling in the world as a flailing artist in her own right. It is Suzanne’s rejection to Victorine that paints the most vivid picture of the main character, and thus, Victorine’s inclusion was sorely needed.

 In the end, Vreeland’s glimpse into the world of a widow comes across as tragic in many ways. The writing seems more stylistically acceptable than in the Yellow Jacket. The dialogue flows more freely. Perhaps it is because Vreeland can better relate to this protagonist in some way, or maybe the influence of actual historical events was better relatable to a fictional adaptation. In the end, it is a story not to be taken lightly, much like the curious subject matter.

Second Research Declaration

How can we identify the face of criminality? Through the ever-changing artistry of mug shots, those accused of crimes are catalogued for future reference with a simple pair of photos – one from the front, and a side profile. There are many uses for these glimpses into the human psyche, and their very purposes have changed as have the times. Culture has been born from these identifiers, and so has an intricate system of finding and identifying those said to be criminals. To be explored in my research will be a brief history of mug shots, dating possibly as far back as the Roman Empire and China’s Han Dynasty, to today. Various aspects of procedure will also be looked at. However, the bulk of the information will come from the pictures themselves. What are the circumstances of the accused? How does this change their demeanor and possible reaction to the picture? Finally, the functionality of mug shots will also be touched upon, but what will be most prevalent are the human emotions conveyed in these sometimes eerie photos.

Who Fritz Really Is...

http://nla.gov.au/nla.pic-vn3391546-v

The man in portrait seven is in fact a ballet choreogrpaher named Leonide Massine.  The portrait was drawn by artist Henri Matisse.  The following sources further reveal a bit about both these extravagant and popular figures in history.

"Destiny - A Tribute to Leonide Massine." The Australian Ballet 2007 1 Feb 2009 .
 This article contained a much more expansive view of Massine as a dancer. Very interestingly, it had a number of pieces of fanfare from some of the various works he participated in. It also contained biographical information that helped to elucidate more of his life. It seems he began his career at the Bolshoi Ballet, though only briefly before moving to work in the Ballets Russes. While there, he became a great star and began to become known as a choreographer as well. Scattered within these texts, there are several photos of Massine, as well as a different portrait by another artist. Thus, the picture in question remains elusive, but the sheer avalanche of information on Massine made this a most helpful online article. Also of interest was the way it was all presented, in what the site calls a “media packet.” The very personal photos and manuscripts from letters were quite interesting.

"Henri Matisse." Microsoft® Encarta® Online Encyclopedia 2000. 1997-2000. Microsoft Corporation. 27 Jan 2009. .
 Within this text is an outline of Matisse’s, the artist of the portrait, life. This details everything from his birth in Northern France in 1869, to his death in 1954. His style is broken down and discussed, though there is still no reference to his drawn works, as the article points more to his vibrant color choices. A brief look at his intellectual side, as well as his rhythmic brush stroke procedure could reveal some of his personality, and thus, what his work of Massine might be indicative of. Also, it says he was also commissioned to design a chapel in France in his later life, and would continue to be creative and artistic with colorful decoupage while bedridden. Finally, it points to his great popularity in his time, which would help to reason why he would be commissioned for a work of Massine, another wildly popular man internationally.

 
"Léonide Massine." The Columbia Encyclopedia, Sixth Edition. 2008. Encyclopedia.com. 31 Jan. 2009 .
 All the biographies of Massine are quite brief, though this article also has links to both a full biography and Massine’s autobiography, and could be utilized if more information is needed. What it does include is his life in a nutshell. Massine lived from 1896 to 1979. He was a choreographer, mime, and ballet dancer.

 
"Matisse: Life and Painting." Henri Matisse. 2009. Succession H. Matisse. 31 Jan 2009 .
 This site was by far the most expansive on Matisse. It chronicles his life, his art, and everything in between in great detail. Of great interest is the fact that this source has several galleries of Matisse’s art, including paintings, drawings, and sculptures. Many of his drawings are reminiscent of the selection with Massine; however, that particular portrait is still missing. Though this is a setback, there is a picture of Matisse with an intriguing caption. Under the “selected photographs” section there is a photo of Matisse working on the measurements of a ballerinas outfit. It is a ballet that was choreographed by none other than Massine. This could easily point to how the pair met, and why there was a portrait commissioned of the famed dancer. Finally, the expansive gallery also has another familiar portrait from the assignment, none other than Pierre Matisse, who was featured as number six in the assignment sheet.

Neff, John Hallmark. "Matisse the Master: A Life of Henri Matisse; The Conquest of Colour, 1909-1954." Art in America 94.1 (Jan. 2006): 35-41. Academic Search Complete. EBSCO. Terrell Library, Pullman, WA. 26 Jan. 2009 .
 This piece is actually a book review that describes in detail a much longer novel which is a biographical account of Matisse’s life. The article contends that the book’s main focus is the relationships Matisse built with his models, as well as his personal love affairs with women such as Camille Joblaud. Also, it is the selection’s contention that many past insinuations by other sources stating an unprofessional relationship between Matisse and his female models may have been unfair or blown out of proportion. Finally, there is a glaring idea that Matisse was obsessed with so called “self-renewal.” Most definitely, this source gives a more personal look to his life, and reveals something of his character. However, it won’t have as much to do with this particular painting in question, as the person portrayed is male; more so, it will serve to fill in holes of Matisse found in a more general history of his art and life.


"Portrait of Léonide Massine." The Art Institute of Chicago. 2009. AIC. 1 Feb 2009 .
 After an exhaustive Internet and article database search, there was only one record of the given portrait. This is held by the Art Institute of Chicago. There is little information on how the portrait came into their possession, or why it was commissioned. Matisse drew Massine’s visage in 1920, using standard graphite on woven ivory. Other more easily obtained portraits of Massine are also available at the site, including one by Pablo Picasso and another by an artist named León Baskt. Overall, the site does little more than show that the drawing does in fact exist on record, as a variety of image searches failed to produce the image. But the time given for the portrait helps to indicate that the two actually met before the ballet Rouge Et Noir, which premiered in 1939. Therefore, it must be that the men met in some other manner, and their relationship after the portrait caused the teamwork on the ballet, not the other way around.

Children of the Screen

Imagine a fisherman’s trade. He storms out into the ocean, using potent bait to lure in the fish, and then sells said fish to a cannery or something along the same lines. The cannery pays for the fish and the process begins again. Now imagine today’s media process, most poignantly the evening news. Using the headlines as bait, news and media reels us in, and sells our viewing potential to advertisers, the metaphor’s cannery. I will first admit that this comparison is not of my own creating: my Comm. 101 teacher used this metaphor in class. But I thought it played well into a discussion on this piece, Children of the Screen. It begs us to ask the question, when we view media today, are we the consumer, or are we the product?

The title article makes many claims in a depressing, yet hauntingly truthful manner. Our society has lost much of its identity. And this is a world-wide problem. When a bustling street in Hong Kong is indistinguishable from one in New York because of the McDonalds on the corner and the fully entrenched advertising for Sprite, something has gone horribly awry. Norms can no longer be stratified without some sort of financial backing and the right lobbyists or sponsors. The terms by which we live our lives are no longer molded by our own hands.

This immersion into mass media and ever-changing values has taken a toll on nearly everyone. Young girls attempt to starve themselves to look like their favorite movie star or model, who has most likely been airbrushed to the point of being a surreal caricature of their former selves. Athletes take performance enhancing drugs just to compete and be the very best. But there is a problem with all this. None of it is real. We are living in a TV fantasy land where every crime is violent, but solved in the end. A place where people entertain themselves by having their testicles kicked by a horse, or where people compete in the most ridiculous challenges for their fifteen minutes of fame and a possible payday that will most likely be blown through before the show has even aired.

As one can see, I am fairly well in agreement with the author of Children of the Screen. But as a reader trying to be objective, I had to pay some thought to the upsides to such a society. It bothered me that said pros to the situation were ignored by the writer of the article. There are some positive aspects that exist, such as the fact that cellular phone service has helped to unite third world countries without a centralized landline. Or perhaps the fact that all kinds of charitable groups can come together online and share ideas to create support could be seen as advantageous. E-mail and texting makes communication simple and instantaneous; even television has some creative and educational programming. Of course, for every upside, there are problems, and drawbacks, but that is simply a fact of life.  

So which one are you? Are you the product, or the consumer?

What is the price of beauty and youth? How far will people go to make themselves the pinnacle of attractiveness and virility? According to Oscar Wilde, some are all consumed by this endeavor, as showcased in his classic novel detailing the plight of the man named Dorian Gray. Said novel was turned into a feature film in 1945, which displayed similar subject matter. The film’s plot surrounds the title character Dorian Gray, who is obsessed with staying young. He prays that he can be just as youthful forever after a portrait of him is finished and he sees the picture of youth before him. This prayer miraculously comes true, perhaps due to some supernatural powers of a creepy Egyptian cat, and Dorian trades his soul for eternal youth; the main catch being that all of his sins and aging are then portrayed by the newly commissioned portrait. Ashamed of what he becomes, Dorian feverously hides the painting from everyone and lives a lecherous life. A legend of sorts, Dorian attracts many women, but also many suspicions. In the end, he can no longer take the pressure of it all, and in a fit of rage, stabs the portrait where his heart would be. This brash action has its consequences, and he falls dead from the blow, also taking on the hideous creature the portrait has been covering up. The painting returns to normal, and the story of Dorian Gray fades away from the minds of all around him.

Of particular note in the film was the murder scene of Basil Hallward, the man who painted the portrait of Dorian. As Hallward slowly comes to realize what has happened concerning the portrait, he cannot contain his fears. All of the film had him standing up for and being friendly with Dorian. And yet, this horrid depiction of his friend tears that all to pieces. The music builds as the viewer realizes what is about to occur. Using the letter opener as a crowning example of Chekhov's gun, Hallward is stabbed to death quite violently by Dorian. After this atrocious act, Dorian is aghast to see his visage in the portrait suddenly has blood on its hands. The imagery here resounding, Dorian throws a drapery over the painting in disgust. He then goes about covering up his friend’s death using blackmail and secrecy; his truly demonic side once again rearing its ugly head. Of course, the transition of the portrait lends right back into the general plotline. In addition, the true theme begins to shine through. It is that while beauty and youth are certainly sought after attributes, the true measure of a person comes from the inside, and what those inner feelings cause the person to do. Also, the idea that you cannot hide behind a façade for long, and fooling some will not suffice for those who stop and truly look into your soul. Dorian couldn’t hide that side of himself, and made many mistakes because of it. His superficial dream realized, he had nothing in his life to do but vile things, and this led to his downfall.

So I pose this question. Is looking beautiful worth it all?

UH Assignment

Note that I have included both a narrative, as well as an expository piece for the man I call Fritz.  Just wanted to touch on a few more details in the expository, while having more fun with the narrative...