This article builds a new relationship between film and architecture. It studies the architectural phenomenology of fear in creating an event and proposes a framework to understand the event of fear spatially and emotionally. In order to do this, the article uses a scene from the last sequence from the 1991 film The Silence of the Lambs and analyses the event’s components: namely the subject and the atmosphere being encountered. Drawing upon Hanich’s categorization of the cinematic emotion in horrors and thrillers and Mølbak’s definition of the event, the article analyses the atmosphere, how to engineer it, and how to energise it. It studies the subject’s perception and embodiment in encountering the space to turn it into a place. It also explores the phenomenal zones and the “thing” that manifests the space and increases the feeling of fear.
Photojournalism is rapidly reconfiguring in the digital post-media age as print media outlets shrink or cease to exist. This article will critically examine contemporary photojournalism, reframing its practice globally within the contemporary techno-creative practice of the art world. The article will focus on key photographic projects from Oculi, a collective of photographers portraying the beauty, wonder, and struggle of daily life in Australia, as the case study to reframe the definition of photojournalism. Oculi is emblematic of the normative art world and evolution within the practice of photojournalism. The photo-essay, according to theorists David Campany and Allan Sekula, does not extend beyond the print media. Although the history of photography situates the photo-essay as flourishing in the shadow of journalistic media practices, the rapid decline of traditional media print outlets indicates an urgent necessity to redefine photojournalism. Reframing photojournalism will extend the practice into a contemporary techno-creative world of art practice through ideas such as Alexandre Astruc’s metaphor “Camera Stylo” (camera pen) and David Campany’s concept of “late photography.” The article proposes that photojournalism outside the parameters of the media and the “event” as “late photography” can also include the human element, not just the empty melancholy of disaster or aftermath.
Approaching image as an audience’s perception of a rhetor, this essay considers the feasibility and efficacy of combining strategies and tactics of an image repair typology with the strategic approach outlined by inoculation theory. The work considers whether inoculation could expand the scope of conventional image repair efforts as a way to not only repair a damaged image, post-hoc, but also to confer resistance to future challenges, preemptively. Directions for future research are proposed, including preemptive image repair and reactive inoculation, and the use of image repair strategies in inoculation messages as a type of image prepare. Risks, challenges, and incidental strengths of an image prepare approach are also raised.