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The Age of the Image: Redefining Literacy in a World of Screens, by Stephen Apkon
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An urgent, erudite, and practical book that redefines literacy to embrace how we think and communicate now
We live in a world that is awash in visual storytelling. The recent technological revolutions in video recording, editing, and distribution are more akin to the development of movable type than any other such revolution in the last five hundred years. And yet we are not popularly cognizant of or conversant with visual storytelling's grammar, the coded messages of its style, and the practical components of its production. We are largely, in a word, illiterate.
But this is not a gloomy diagnosis of the collapse of civilization; rather, it is a celebration of the progress we've made and an exhortation and a plan to seize the potential we're poised to enjoy. The rules that define effective visual storytelling--much like the rules that define written language--do in fact exist, and Stephen Apkon has long experience in deploying them, teaching them, and witnessing their power in the classroom and beyond. In "The Age of the Image," drawing on the history of literacy--from scroll to codex, scribes to printing presses, SMS to social media--on the science of how various forms of storytelling work on the human brain, and on the practical value of literacy in real-world situations, Apkon convincingly argues that now is the time to transform the way we teach, create, and communicate so that we can all step forward together into a rich and stimulating future.
- Sales Rank: #314684 in Books
- Published on: 2014-04-08
- Released on: 2014-04-08
- Original language: English
- Number of items: 1
- Dimensions: 7.93" h x .75" w x 5.57" l, .60 pounds
- Binding: Paperback
- 288 pages
Review
“This sumptuously detailed and profound new book should be required reading for anyone who thinks about how to effectively communicate in our new world of screens.” ―Jonathan Demme
“[A] timely, acutely perceptive, and often impassioned book, which sets the rise of visual language in the context of the long history of communication.” ―Simon Schama
About the Author
Stephen Apkon is the Founder and Executive Director of The Jacob Burns Film Center, a non-profit film and education organization located in Pleasantville, N.Y. The JBFC presents a wide array of documentary, independent and foreign film programs in a three-theater state-of-the-art film complex, and has developed educational programs focused on 21st century literacy. Under Steve’s leadership, the JBFC opened a 27,000 square foot Media Arts Lab in 2009. Since its doors opened in 2001, JBFC education programs have reached over 100,000 children.
Steve serves on the boards of The World Cinema Foundation and Advancing Human Rights. He is President of Big 20 Productions; the director and producer of The Patron, a collaboration with Ido Haar; a producer of Enlistment Days, directed by Ido Haar; and a producer of I’m Carolyn Parker: The Good, the Mad, and the Beautiful directed by Jonathan Demme.
Martin Scorsese was born in New York City and graduated from New York University with a degree in film. Widely considered one the best filmmakers in American history, his movies include Mean Streets, Taxi Driver, Raging Bull, After Hours, Cape Fear, and Gangs of New York.
Most helpful customer reviews
11 of 11 people found the following review helpful.
An important and thought-provoking book
By Ian D. Griffin
This is one of the most thought provoking books I've ever read on corporate and political communications. For anyone involved with communications the implications of Apkon's thesis, even if he only partly right, are profound. Those who wish to succeed in the corporate world need superior communication skills. Today, these include not only listening, speaking, reading and writing, but also superior visual communications skills.
Apkon argues that we are on the threshold of a new era where the democratic reach of media can now stretch to a level never before possible in human history. This phenomena is enabled by the ubiquity of screens to consume video; the universal language of the image over the specificity of written communications; the power and reach of the networks of distribution through YouTube and the web; and, finally, our ownership of the means of production via smart phone cameras and inexpensive editing tools. Apkon notes:
"What we are now seeing is the gradual ascendance of the moving image as the primary mode of communication around the world: one that transcends languages, cultures, and borders. And what makes this new ear different from the dawn of television is that the means of production-once in the hands of big-time broadcasting companies with their large budgets-is now available to anyone with a camera, a computer, and the will."
Akpon details how the human brain is wired for images (the province of 85% of our grey matter) and why we trust the evidence of our eyes above all else. Images are understood in context, which can be manipulated with narrative to hook an audience emotionally. We expect nothing less from Hollywood, we should not deny ourselves this facility.
Images have energized corporate storytelling. Apkon shares examples where the old rules no longer apply: from the low-budget Dorritos Super Bowl ad to Gillette's instructional video on How to Shave Your Groin, corporate video appeals directly to our `reptilian mind', prior to logic and rationality. Lawyers and journalists are tapping into the power of the image to bolster reasoned arguments.
The days of the copy editor, speech writer, or PR professional who focuses on the language of the press release alone are numbered. We need to relax our obsessive focus on a logical, written narrative. Instead of endless meetings about the nuances of a product announcement, we should look for ways to craft images that will emotionally connect with an audience. Apkon recommends we learn from the black arts of the political advert:
"Political images are much less logical that they let on-in fact, they rely on the image makers' ability to tap into primitive emotional centers that govern adaptive urges such as fear, comfort, and love."
Corporate communications professionals need to grab their Flip cameras (or whatever is available to them), fire up Windows Movie Maker and go stick the lens in the face of customers, partners, employees, and, yes, even executives. Apkon's important book challenges us to recognize the importance of the image over the written word, to learn to become literate in this medium, and to be willing to step forward and say "Lights, Camera, Action!".
5 of 5 people found the following review helpful.
An essential read!
By Hans Strikwerda
The book carries an essential message: we live in an image culture, but are educated in a word culture. The book explains the working of the image culture, through images of whatever kind. This includes the manipulative workings of images, where images appeal more to intuitive emotions compared to words. The authors argues that to live in a consciuous and self preserving way in a media culture, one needs to understand the literacy of images, especially movies. A best way to do this is by learning to make movies oneself and by making movies. To which the popularity and effects of YouTube is the confirmation. Although the author provides the basics to develop a critical attitude vis-à-vis the way movies are used to play on emotions, the author side too much to the movie industry to be really critical. The book should be read together with critical books on the role of still photography in our society. Also the book needs a accompanying website with the fragments and examples discussed in images, like e.g. the book on twentieth century music, "The Rest is Noise", has an exemplary website which makes that book a true experience. That visual dimension is missing in Apkon's book.
3 of 3 people found the following review helpful.
Great read
By Ryan McDaid
I used this book as a supplementary text to one of my graduate level film courses at Columbia. I found it to be insightful and unexpected. I would recommend it to anyone.
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