Notes

=**2/13/2012**=
 * (Photo 1)**
 * Rhetor**
 * This photo was taken by Ralph Crane as a reenactment of a disturbed boy's escape from a children's home. The photo was published by Life magazine. To take this photograph requires great skill and technique. This photo is staged, but appears very real. Ralph could have chosen anywhere to shoot a man chasing a boy but he chose to take the photo in a dark hallway.**
 * Text**
 * This photo was taken in 1947, just two years after WW2 ended. The two people in the photo appear to be running, the larger man chasing the boy. The boy is not wearing any clothing which shows that he may be deranged. Most normal people would not run through a hallway naked.**


 * Audience**
 * This photo makes me want to cheer for the escaping boy. There appears to be more light at the end of the hallway is as if to say, "here is exit to freedom and life". The dark hallway could represent the boys journey in life thus far--gloom and doom with a hopeful future far in the distance. The boy is turning to the right to run either through an exit door or turn down another hallway which could be seen as "turning over a new leaf" or "making a change for the better". I don't know what the boys history is or what he did to deserve being held captive but I definitely want him to be free. After WW2 there was probably many people that were set free from captivity, escaping the wrath of their enemies, and maybe those people could identify with this boy. The families that had sent sons and husbands off to war want to see their loved ones "escape" the clutches of death (e.g. the large man in the photo) or maybe the soldiers, who were captives and were set free, can remember what it was like to be released.**


 * Maybe this image could be viewed as the United States (the large man) chasing after the wild, nude, unruly and crazy boy (Hitler/ Nazi Germany). So in this case the audience would want the large man to conquer and contain the "enemy".**


 * (Photo 2)**
 * (Photo 2)**


 * Rhetor**
 * This photo shows the turmoil between East and West Berlin--there is barbed wire and a man holding up his hands to stop the oncoming vehicle. The barbed wire has large and sharp blades on them made to puncture car tires--this shows the hostility that existed in that moment. Berlin is not only the capital, but is also the largest city of Germany's sixteen states. If the capital was divided, this implies that the country is probably divided as well. The photo is black and white, the sky appears to be overcast, no blue sky on sunshine signifying that those may have been dark days or sad times. Eastern Berlin is faded in the grayness or fog in the background, it looks like a ghost town, possibly full of death and devastation. The photographer also captured the large amount of dirt next to the curb and the unkempt grass on either side of the roadway. This reveals that the countries workers, who would usually take car of such a mess (such as street cleaners or gardeners) are our busy with some other task, maybe fighting on the war front or working in factories to build war machines. This photo reveals that not just the oncoming car but everyone in East Berlin is NOT welcome in West Berlin. We can see there is a shadow behind the policeman, the shadow is long so the sun should be directly in front of him but no sun can be seen.**


 * Text**
 * This photo was most likely taken during or near WW1-2. The photo shows an automobile arriving from the Eastern Sector of Berlin being halted by West Berlin Police. On the monument behind the car (with the four pillars) it looks like there is a flag which could indicate that the country is still standing and the division has not caused them too fall. Just like the US anthem "and our flag was still there" has a deeper meaning of hope--a brighter future through the gray mist and shadows that exist here and now.**


 * Audience**
 * I think that this photo shows the hostility and turmoil within Germany during this time. Maybe the people who were fighting against Germany during this time would be happy to see division within Germany's capital?**




 * (Photo 3)**

Born in Germany in 1913, Ralph Crane was expected to be a doctor like his father and grandfather. Instead, he pursued his dad’s hobby―photography. He began taking pictures at age 12 and was freelancing for //The New York Times// by the time he was 21. After many years of working as a contributor, he joined the //LIFE// staff in 1951. Crane created striking photo essays on a wide variety of subjects. He planned his images carefully, sometimes drawing out the compositions beforehand for difficult one-shot photographs. //―Anna Lee Gresham//
 * Rhetor**
 * The following quote was added with this photo.**
 * uote was adde This photo was taken on a beach at Santa Monica in the year 1950. Of all the places this young couple could have been in 1950 these two lovers wanted to be at the shore deep in a pit dug out of the sand. Behind the couple there is people, shops and all kinds of activity. The couple receives the focal point of this photo. The woman is leaning on the man, he has his arm around her. Maybe she is cold and tired so he holds her tight to keep warm in the cool sand. The couple are somewhat protected from the ocean wind, but also from the noise/ commotion going on around them. They appear to be oblivious to all other activity--as if they are the only ones on that beach. It is interesting that although the couple in the front seem to be the main point for the shot, there is one woman who looks like she is staring directly at the photographer. She draws an ire attention to herself which takes away from the couple slightly. No one else in the photo appears to be looking at the camera but this woman. Maybe this photo is saying that, "in total commotion, confusion, even craziness a person can find solace and peace with the one they love."**


 * Text**


 * Audience**