Deshpande Summary

In the article, "The Confident Gaze" written by Shekhar Deshpande, he claims that National Geographic magazine "is quite sensitive to trouble spots and trouble contexts; it does not pretend to evade such situations. But while it covers or represents such issues or situations, it can sanitize and even the blood and gore of conflict." This very much describes how the images that you see in the magazine are posed and set up to be aesthetically pleasing to the eyes of the Western culture. Shekhar says, "It is as if the world needs to be posed in the appropriate way to the Western observer, he could not see bare essentials." Western civilization likes to think that anyone not living up to "their" standards or with the same lifestyles and technology as them, are below them and somehow their lives are not rich and fulfilling. Because of this, National Geographic magazine caters towards the needs of the Western observer and shows life in "third world" countries as poverty stricken and in need. Western observers are, in a sick way, entertained by this idea. The photographs are set up to make the people appear "lesser than" rather than their true life situations. Shekhar also states, "the photographs are rich in their content, but entirely dishonest in their relationship to the environment or the context." It sad how the truth comes out about such an amazing magazine that has won photography awards. We are introduced to National Geographic in elementary school to expose us to other countries and situations around the world. It is unfortunate that we were not told that the photos were set up therefore we grow up assuming that every country is "lower" than us and poverty stricken.

Deshpande

In Despande’s, “The confident Gaze,” he talks about how the popular magazine, “National Geographic” has been using its so called stunning photography to make poverty seem amusing to others who read the magazine.  Despande uses a National Geographic cover that has a child on it from India; he’s painted red for the Holi festival and looks solemn even though the festival they are celebrating is a happy and joyous time.  Poverty has become a good image for the use of the media because of how our senses are attracted to that almost abnormality we aren’t used to in American culture.

            Despande states, “This power to transform the most repulsive results of human actions around the world into images that are digestible is what makes for the culture of National Geographic.”  From this, Deshpande is implying that through the images we see in National Geographic, that facts of suffering and poverty becomes an interesting and almost amusing topic for its readers.  With the fact of breathtaking photography, the photography almost takes away from the underlying factors these images should really be portraying to viewers.

            Deshpande also states, “While we admire the accomplishments of its photographers to bring us the rest of the world, we forget that the photographs and the contexts in which they are placed represent a very conscious effort by the editors to make the world a happy place and a happy place especially for the western eye.”  Deshpande implies that through the use of breathtaking photography, the viewer doesn’t think of what is really going on in the images they are looking at.  The viewer might look at an image of a malnourished family in a landscape and think of how the place they live in is beautiful  and how in a way, their “struggle” and hardship is used to amuse the viewer.

National Geographic

Summary: In his article, “The Confident Gaze,” Shekhar Deshpande speaks of National Geographic magazine. Most recently National Geographic came out with a special issue, “India: Turning Fifty.” This issue was celebrating the 50^th anniversary of India’s independence. National Geographic has the third largest subscription base in the United States. Many Americans consider National Geographic a solid cultural reference, sharing coverage of various cultures from around the world. National Geographic uses photography to showcase countries, allowing the viewers to escape into another culture. Deshpande suggests, “National Geographic has made an aesthetic of its own photography. It attempts to sanitize and universalize the uncomfortable as well as different elements of other cultures.” The photographs become beautiful works of art that the viewers admire. As viewers, we forget who is capturing these photographs. The photographer’s purpose is to peak our interest, engage our curiosity. This gives the viewers incentive to purchase the magazine. The editors and photographers are well aware of what sells, and what we want to see. As viewers, we want to see the world as a “happy” place. Another words, bloody conflict, and other worldly issues is not what we desire to see, thus it will not sell. As simply observers of various cultures from our own living room, we are kept at a distance. Our minds are blocked from the reality of the culture.

Deshpande elaborates, “When we speak of an aesthetic of photography in a magazine we notice that in this magazine, the bloody conflicts from Afghanistan to East Timor become picturesque achievements that can be looked at one’s coffee table without being troubled by the conditions in which these photographs were taken.” The reality of these various cultures is glorified for our own Western civilized eyes. As Americans, we feel educated and somewhat sophisticated because we purchased National Geographic. This proves to others we care about what is going on in the world. As Americans face the facts, we will realize National Geographic is providing a glorified reality. Our minds left ignorant, we don’t know the real truth behind these photographs.

Deshpande Summary

Writer Shekhar Deshpande recently wrote an article by the name of "The Confident Gaze". This writing talks about the different magazines and how the images in those such as the National Geographics are influencing the readers and their education on the culture it is portraying. An image is shown as an example, the image is of a small boy painted the color red, he he ethnic and looks impovreshed and poor, his facial expression shows unhappiness and dispare. While this cover may sound upsetting, the photographer makes the picture so that it meets the viewers eye in satisfaction. Dishpande states "but while it covers or represents such issues or situations, it can sanitize and even beautifuy the blood and the gore of the conflic. This power to transform the most repulsive results of human actions around the world into images that are digestible is what makes for the culture of National Geographic" (Par 11). This is saying that even the most grusome and horrific pictures of them all could be portrayed on a magazine but the edditors and photographers are never showing what it truely is, they always have to set it up and get each detail perfectly shown as beautiful as they can make it; this is what makes a successful magizene. Most viewers and readers of these magizene's are not looking close to detail, they glance at an image and quickly read through the text, but is what they are looking at what is really being shown? Deshpande does not think so and nither do I. I believe that these people are being tricked into lies of a certian culture and because of it, it makes a magizene sell. Deshpande mentions "the 'innocent' attractiveness of the photography of National Geographic, its ambiguous representtation of the knower and the known as the most 'natural' and inevitable parts of our world are what have made for the success of the magazine" (Par 7). This is the part where he writes about how these images that are portraying fake culture are being sold because of their beauty and ability to capture parts of the image that would not be seen if seen in person. I think that the claim that concludes it all up is when he says "human suffering becomes worth a good image" (Par 10).

Response to Deshpande

Shekhar Deshpande wrote an article on The National Geographic magazine called “the Confident Gaze.” In this article Deshpande talks about how the magazine uses photography to help sell the magazine but also help support the articles in the magazine. Also the photography, along with the articles, misrepresents the meaning or facts of articles. In Deshpande’s article on the magazine he uses the example of other countries but more specifically he uses National Geographic’s article and photography on India and how westerners can just look at the magazine, have a few thoughts and go back to their lives. In Deshpande’s article he claims “The Poverty in India…is transformed in the pages of the magazine into an observable commodity, polished with gleaming light and perfection of the position of the objects.” The magazine sets the photograph in the stance that would best represent what they are trying to say and not taking the photograph of the culture in its natural positions. Another claim by Deshpande is “[T]he bloody conflicts…can be looked at one’s coffee table without being troubled by the conditions[.]” People can pick up the magazine and look at the pictures or read the article but they don’t fully understand because they don’t have to live in the harsh conditions the images or words are describing.

response to despande

Deshpande explains his views on National Geographic’s use of photography and the influence and impact it has on it viewers. As you may know National Geographic is mostly a photo magazine with pictures on every page and brief descriptive writings on the pages. Deshpande used the National Geographic issue “India Turning Fifty” to get his thoughts across to readers. His main message is that the magazine uses imagery from different cultures to play against the standards of the western culture. “This power to transform the most repulsive results of human actions around the world into images that are digestible is what makes for the culture of National Geographic,” says Deshpande. The photographers of National Geographic and also the editors take images of bad situations and use them to draw the “western eyes” attention, even if the situation is better than it seems. The cover of the boy painted red was actually for a celebration, but they gave an impression of violence and suffering. “While we admire the accomplishments of its photographers to bring us the rest of the world, we forget that the photographs and the contexts in which they are placed represent a very conscious effort by the editors to make the world a happy place and a happy place especially for the western eye.” Meaning that when we come across the images , we are provoked to learn more about the cause.

Summary and Claims

Shekhar Deshpande explores the idea of National Geographic’s photography and the influence it has on its readers. National Geographic magazines are commonly seen as a source of reliable information and culture from around the world. Deshpande goes into detail about the image seen on the cover of the special issue “India: Turning Fifty.” Deshpande’s main message is that the photos of different culture are played to the standards of “Western” civilization to either make images “digestible” or spark interest or curiosity in Americans.
Deshpande has many claims about the National Geographic magazine, two of which I will elaborate on. The first claim I chose is, “It is slick, it is technically flawless or even adventurous, and it attempts to sanitize and universalize the uncomfortable as well as different elements of other cultures.” Deshpande is describing the ways in which American photographers use different techniques to portray certain messages and even emotions through the images. The picture is usually edited or set up to create a sort of perfection to best fit their marketing needs. Even if the photo doesn’t give the entirely truthful message it doesn’t matter because it spurs interest in the Western mind. Photographers can even make an extremely grotesque situation presentable to the public.
Another interesting claim comes later when Deshpande is explaining how the magazine can change the way something looks. “This power to transform the most repulsive results of human actions around the world into images that are digestible is what makes for the culture of National Geographic.” In essence, National Geographic’s photographers and editors can take images from a horrible situation and down play it to make it something to look at without much emotion or thought about the circumstances of the photo. The photographs depict images with lots of content that is not relevant to the situation at hand. For example, the boy was painted red as part of a joyous celebration, but through National Geographic, the photo gave the impression of violence and suffering, which is completely untrue.