Charlotte Simpson – 15014687Blog Address: https://charlottejsimpson.co.uk/ Physical Assets Hand-in: https://drive.google.com/open?id=1pOtSO6l-nhgS7QqX8JnOYNo_kNTZ_Z_b

Photomontage (PDF) Audio Mix soundtrack (.Wav) Video Montage (.Mov) Selection of Final Images (.JPG)

Evaluation:

I have created a body of work that examines and makes visible the implications of capitalist consumption, through critical-visual representations of everyday waste. Linder states that “garbage has become a global concern. It is implicated in the transitional flow of goods, people, capital, data and images…” (2015:1). Hawkins states that “waste is something we all have to manage, beyond biological necessity, we expel and discard in the interest of ordering the self…” (2005: 24).

I have situated my images within a large montage that depicts everyday commodities near the end of their lifespan. I have also explored systems of value within consumption behaviours whilst drawing attention to the visual codes that are used within commodity fetishism commerce. Linder described garbage “as a commodity in its own right in a transitional ‘second order market’, where garbage is bought and sold for recycling or the extraction of raw materials” (2015:1). Photography objectifies and fetishizes its subjects, within an allure of synthetic beauty through selective lighting, focus and editing processes. Thus, portraying commodities as enticing and desirable. Within capitalism “we are often being persuaded to buy products which are unnecessary; products manufactured at the cost of damaging the environment and sold to make a profit at the expense of the people who made them” (Williamson, J. 1995:17). My photography depicts ordinary objects immediately before, or at the point of disposal or abandonment, acting as a mechanism that incites visual consumption whilst denoting cult and social status. It’s ability to fix and petrify objects, moments or states, beckoning viewers to indulge in critical reflections into consumerism. Susan Sontag, declared that “photographs can alter and enlarge our notions of what is worth looking at and what we have the right to observe” (2005:1).1 My images inspire deep contemplative reflection by representing the grotesque in a state of suspended elegance.

Photography and video are mechanisms that create and circulate advertising. Williamson states that “their very existence in more than one medium gives them a sort of independent reality that links them to our own lives; since both continuities, they constitute a world constantly experienced as real.” (1995 :11).2

1 These images re-establish and transform the value of these items, into critical and symbolic statements.2 Williamson, J. describes the ubiquity of advertisements, outlining how they are “an inevitable part of everyone’s lives” because “the images posted over our urban surroundings are inescapable” (1995: 11).

Equally, my production represents vernacular commodities individually, within high-definition aesthetics. This process of isolation revealed the minuscule defects, imperfections, and traces of use; that at a glance would otherwise remain unnoticed. Thus, inviting my audience to reimagine everyday objects and practices on a critical level.

I was inspired by historic modes of representation such as Vanitas paintings. My attention centred around compositions and the role of material objects as signifiers of mortality, death and otherworldly sensations.3 Providing an explicit reminder of the fragility of human life and its impending demise. Susan Sontag notes how “all photographs are momento mori. To take a photograph is to participate in another person’s (or thing’s) mortality, vulnerability, mutability”, whilst also stating that “all photographs testify to time’s relentless melt” (2005:15). My images represent and embody implications of capitalism, each object signifies the death of all matter and demise of commodity culture; providing a harsh reminder that all matter will be reclaimed by the land.4

Initially really struggled with the presentation of my image, I was inspired by Kennard Phillips and John Stezaker, and their approaches to photomontage through seamless and integrated composition that created uncanny representation of popular culture.

My images worked best to seamlessly integrate each object within a large montage as to formulate a critique on commodification within the world. I am drawing attention to the ‘insignificance’ these objects, in relation to the world; that raises awareness to the larger implications of capitalism. 5

My photomontage will playfully experiment with narrative, scale and value. Each object takes form as an immersive and multi-disciplinary installation that features accompanying video and sound-based media. I have deconstructed and reassembled advertisements taken from popular culture; including dated and current footage. This highlighted the dynamic flux within media whilst exploring the tensions between familiarity and ambiguity as a mechanism to make visible the codes of capitalist propaganda within a critical framework.

Photographers such as Cindy Sherman, Irving Penn were crucial influences within my production. Sherman’s imagery depicts the taboo and grotesque, whilst juxtaposing this against stylized aesthetics through carefully worked compositions that feature over-saturated tonality and intricate detail; concealed with high-gloss prints.6 Studio lighting accentuated the form, texture and surface of each object, by making visible details that

3 Vanitas paintings feature props such as skulls and candles that encapsulate ‘Memento Mori’.4 When constructing my images, I deliberately pictured worn items, whilst fixing them within stylized and tonal aesthetics.5 Photographic abstraction allowed me to isolate my backlit objects against a black background as to direct the viewers’ attention to the state of that object.6 Studio lighting accentuated the form, texture and surface of each object, by making visible details that usually go unnoticed.

usually go unnoticed. Post-production enhancements allowed me to achieve exaggerated colour, which conversely fetishized my subject, drawing attention to the exterior traces of use. However, it came to my attention that domestic waste is heavily controlled and manged by infrastructures such as council recycling centres and landfill sites. Because of this, finding suitable items became problematic and my subject choices remained limited. To combat this, I adopted an ethnographic approach that entailed photographing worn items from around the house. Additionally, my visit to St Phillips Recycling Centre in Bristol was key within my production. This provided a framework in which I investigated notions of value within consumerism. Raising questions around why and how we dispose of items? And how does their material, physical or symbolic value change, shift or transform? I also became interested in how value is represented in the form of commodity fetishism and how this sustains or develops in the future after objects have lost their material lustre. Additionally, as part of my ‘Work, Placement and Experience’ module I am formulating a research project that explicitly examines the role of consumption in reflecting identity.

Commercial photographers including Richard Kiely, Khung Nguyen, Robert Grimm and Vladimir Tatarevic all provided me with a technical basis in which to formulate commercial style images that successfully fetishized discarded items. Successfully converging commercial and artistic styles allowed me to create visually enticing representations of everyday waste as a commodity.

Sound and video became integral within my critique on capitalism. Initially, experimental videos including “Lets Call it Love” by Brenda Beban and “Surviving New Land” by Marjolijn Dijkman. Pieces like this playfully explore rhythm, pace, and narrative through use of montage, bricolage and remediation.

“Surviving New Land” examined the role of imagery and sound within montage, as Dijkman looped video reveals the view from a boat that is circumnavigating the parameter of an manmade island. Simultaneously, iconic and recognisable movie excerpts are audible, creating an uneasy and ambiguous atmosphere. This reconstructed narrative engages and provokes the audience to participate in nostalgia, as they recall familiar scenes from these filmic teasers - creating a dynamic, yet personalised experience that is thought-provoking.

Likewise, I have repurposed extracts from well-known and unfamiliar advertising, this grasps attention whilst highlighting the blatant and overused characteristics of capitalist advertising in a relatable and readable way. My montage appropriates both historic and current advertisements, ranging from the late 19th century to the present day. This approach grasps the audience’s attention through dynamic engagement and personalised reflection.

It is important to note that, my audience will be immersed within a textured experience that will incorporate a large-scale photomontage, featuring 6-8 of my original images. Alongside this, a reconstructed sound/video montage will be accessible via use of headphones.

This will isolate the viewer from any outside noise, thus allowing audiences to engage with this piece in an intimate way.

Although, headphones will create an experience that is somewhat intrusive and intense. It’s ‘loud’, ‘invasive’ and ‘in your face’ approach will function to mimic the style of commercial advertising which is an inescapable and necessary regime within capitalism.

Combining old and new media was problematic, due to large variations between video quality and resolution, causing inconsistencies. However, I felt that this disparity could be used to accentuate the drastic changes in media technologies and commerce whilst also embodying the essence of waste/garbage. The video and its aesthetics are messy, inconsistent and at times, problematic to watch; this combines to create an uneasy viewing experience whilst metaphorically representing waste.

I was influenced by Christian Marclay’s skilful and meticulously reassembled video montages. His use of popular film scenes invite his viewers to embrace nostalgia in a dynamic and personalised way. Both videos recreate experiential narratives that intensify and build tension. This inspired my interest in deconstructing and reassembling commercial extracts to create a sense of unease through visual and auditory overstimulation. By converging familiar and unfamiliar imagery, I have decoded and made visible the blatant use of media languages within commodity fetishism. Thus, inviting critical reflection upon mainstream advertising and commerce whilst also making my critique more accessible and easily understood by a wider audience.

Deuze (2006) examined digital cultures whilst describing how bricolage, remediation, and distantiation can act as emancipatory tools for expression and social engagement. Stating that we become “active agents” that “modify, manipulate and thus reform consensual ways of understanding reality” as we “reflexively assemble our own particular versions” through creative intervention (2005:66). Within my production, I have adopted ‘distantiation’ as a tool to construct my critique. Deuze describes it as “… a more or less deliberate social act –

deconstructing and/or subverting symbols, images, and other mediated products of whatever is perceived as “mainstream” (2005:69). He also discussed the convergence of old and new media whilst stating that ‘distantiation’ and ‘remediation’ involves “…being deeply immersed in a system” whilst “…reforming the system from within” (2005:70). Although, I am deeply immersed within the system, I feel that this has allowed me to formulate a critical understanding of consumption and its role within the everyday life, thus enabling me to formulate my critique. Merging both old and new content has not only highlighted the progressive flux within the media industry but this also draws attention to the language of commercial advertisements. This piece makes visible the visual coding that objectifies and fetishizes the commodity form whilst depicting items as desirable, thus provoking commerce and excessive consumption as a necessary part of human life. In addition to my photographic montage, my video piece has successfully embodied discourses of oversaturation and ubiquity within both commercial media and waste.

This piece began as a photographic archive, depicting pictorial mugshots of discarded objects. My attention shifted to audience experience, transforming from a linear and compressed experience (simply viewing images in a sterile way) to a dynamic and textured encounter (employing sensory stimulation through sound and visual cues). I then took excerpts from existing adverts, that were reassembled to create a sound track and then later, a video piece that allowed to critically constitute my production as a multi-disciplined and textured experience through sensory overload through a mixture of auditory/visual provocation.

Throughout, I had been confronted by several eventualities and issues. Initially, I had very limited access to suitable photographic subjects/items that embodied adequate traces of use. This was a fundamental consideration within my production because my use of visibly ‘discarded’ or ‘damaged’ items functioned to create a series of images that were relatable and easily understood. Furthermore, I occasionally faced difficulties in photographing items in a desirable and revealing way. This was predominantly, due to the size, form, and nature of some of the objects, which were either very small or flattened and distorted completely out of shape. This was also related to the textures and materials of the objects themselves, paper and card surfaces were problematic whereas metallic items were most successful due to the ways in which light reflected and bounced from the surface. Metallic items were most effective and worked to create an illusion of depth and deep tonal contrasts that worked to fetishize the objects the dark and shadowy allure, giving the commodity mystic and desirable qualities.

It often became problematic to adequately illuminate my objects whilst also abstracting the backdrop into darkness. However, I decided to shoot in Camera Raw which gave me flexibility over the appearance of my image. I made minor enhancements that allowed me to salvage most of my unsuccessful images and use some of them within my photomontage. Extensive commercial and theoretical research allowed me to create dichotomous juxtapositions between sharp and defined detail and oversaturated colour against the grotesque representations of consumption and waste practices. Through this, I have created a critically engaging piece that uses familiarity and relatability as a mode to invite the consumer to think and behave differently. I blurred the boundaries between the birth (inanimate object becomes fetishized through selective aesthetics and visual cues) and

death of the commodity form (object has become void of purpose, value and exists merely as material essence). Equally, within my video montage and its use of existing advertising extracts meant that I had little control over video resolution and quality which created a disparity. Because of this, my video montage initially appeared quite inconsistent and hard to follow. However, this became an integral factor that depicted the commercial industry as dynamic and in constant flux. This also worked to highlight the stark and drastic technological advancements and consumption practices across the last century.

Ultimately, this body of represents a critical marriage between multiple disciplines including, photography, video, and audio media which has created a multifaceted investigation into capitalism, making visible its implications and consequences within Western Cultures.

Word Count – 2172

References:

Adbusters (2017) SpoofAds. Available from:https://www.adbusters.org/spoofads/ [Accessed 1st November 2017]

ArtyFactory (2017) Still Life Artists – Harmen Steenwyck. Available from: https://www.artyfactory.com/art_appreciation/still_life/harmen_steenwyck.htm [Accessed

8th November 2017]

Apple (2017) iPhone 8 and iPhone 8 Plus – Unveiled – Apple. YouTube [Video] 12 September. Available from:https://www.youtube.com/watch?v=k0DN-

BZrM4o&feature=youtu.be [Accessed 20th October 2017]

Audi UK (2015) Audi RS 3 “Birth”. YouTube [Video] 30 April. Available from: https://www.youtube.com/watch?v=QnMxcM7Gbjo&feature=youtu.be [Accessed 20th

October 2017]

Acìn, A. (2017) Everything Must Go. Available from: http://www.alejandroacin.com/index.html#about [Accessed 26th September 2017]

Amazinglife 247 (2014) Hilarious Infomercial Struggles Compilation. YouTube [Video] 18 Mar. Available from: https://www.youtube.com/watch?v=3eMCURWpNAg [Accessed 27th

November 2017]

Andrew Anthony (2016) KFC Mighty Bucket Commercial. YouTube [Video] 5 Oct. Available from: https://www.youtube.com/watch?v=uee4LbqBxD8 [Accessed 27th November 2017]

AXE (2017) AXE|Body Spray vs Dry Spray: An Education. YouTube [Video] 21 Jul. Available from: https://www.youtube.com/watch?v=11sA19KCxL8 [Accessed 8th November 2017]

Banksy (2017) Banksy. Available from: http://banksy.co.uk/in.asp [Accessed 27th September 2017]

Bush, J. (2017) Advertising & Product. Available from:http://jordanbushphoto.com/ [Accessed 24th October 2017]

Bush, J. (2017) JordanBushPhoto. Instagram [Online] 21 May. Available from:https://www.instagram.com/p/BUXm4H5lnFK/?taken-by=jordanbushphoto [Accessed

24th October 2017]

Bush, J. (2017) JordanBushPhoto. Instagram [Online] 5 March. Available from:https://www.instagram.com/p/BRRoP1elMRa/?taken-by=jordanbushphoto [Acccessed

24th October 2017]

Bush, J. (2017) JordanBushPhoto. Instagram [Online] 6 March. Available from:https://www.instagram.com/p/BRTt-4JlmuB/?taken-by=jordanbushphoto [Accessed

24th October 2017]

Ballard, J.G. (1995) Crash. [Online] London: Harper Perennial. [Accessed 19th October 2017]

Bate, D. (2004) Photography, and Surrealism: Sexuality, Colonialism, and Social Dissent. [Online] London: I.B. Tauris [Accessed 15 March 2017]

Christcatilo (2011) Christian Marclay – The Clock. YouTube [Video]. 11 May. Available from: https://www.youtube.com/watch?v=rB3CgEnxnYY [Accessed 7th December 2017]

cassetteboy (2017) Cassetteboy Vs Theresa May. YouTube [Video] 6 Jun. Available from: https://www.youtube.com/watch?v=p7iUYWMD77w [Accessed 28th November 2017]

Classical Commercials (2014) 48 Classic Retro Soft Drink & Beverage Commercials. YouTube [Video] 21 Jan. Available from: https://www.youtube.com/watch?

v=rbARsiRGz4g&t=68s[Accessed 8th November 2017]

Christian Dior. (2017) DIOR LOVE CHAIN. YouTube [Video] 26 Aug. Available from: https://www.youtube.com/watch?v=p8wj7iO9cnM&t=14s [Accessed 8th November 2017]

DoUsAFlavour (2009) Walkers: ‘Do Us A Flavour’ TV Advert. YouTube [Video] 16 Feb. Available from: https://www.youtube.com/watch?v=KMzn318vOs0 [Accessed 8th

November 2017]

Deuze, M. (2006) Participation, Remediation, Bricolage: Considering Principal Components of a Digital Culture. In: The Information Society, 22. London: Routledge. pp63-75

Encyclopaedia Britannica (2017) Henry Peach Robinson: British Photographer. [Online] Available from: https://www.britannica.com/biography/Henry-Peach-Robinson [Accessed

8th December 2017]

Eugenio Mendoza Robaina (2015) Best music video remix compilation 2016 – Funny Vines – Part 1/6. YouTube [Video] 22 Dec. Available from:https://www.youtube.com/watch?

v=n_bY83Rp17g [Accessed 28th November 2017]

erranmann43 (2012) Russel Hobbs Kettle Advert 1984. YouTube [Video] 19 Nov. Available from: https://www.youtube.com/watch?v=Gwq3AGVNGLg [Accessed 27th November 2017]

Encycolpedia of Old Master Painters (2017) Harmen Van Steenwyck. Available from: http://www.visual-arts-cork.com/old-masters/harmen-van-steenwyck.htm [Accessed 8th

November 2017]

Encyclopedia of Old Master Painters (2017) Art Encycopedia – What is art?. Available from: http://www.artnet.com/artists/simon-luttichuys/ [Accessed 8th November 2017]

Ffotogallery (2017) Mike Perry – Land/Sea (Tir/Môr). Available from: http://www.ffotogallery.org/mike-perry-landsea-tirmor [Accessed 17 November 2017]

Foster, H. (1993) Compulsive Beauty (1st ed.) London: MIT PressFrosh, P., ed. (2003) The Image Factory: Consumer Culture, Photography and the Visual

Content Industry. [Online] Oxford: Berg. [Accessed 19th October 2017]

Goddard, B. and Wilson, S. (2016) Photomedia Module Reader 2016-2017. Bristol: Carbon Neutral.

Gadjann (2012) Ford Capri Advert. YouTube [Video] 14 Jul. Available from: https://www.youtube.com/watch?v=cy6okYyoAx8[Accessed 8th November 2017]

Gill, S. (2017) Portfolio. Available from:https://www.stephengill.co.uk/portfolio/portfolio/nggallery/page/2 [Accessed 17th

November 2017]

Greenough, S. (2005) Irving Penn Platinum Prints. New Haven: Yale University Press. pp. 5–20. ISBN 0-300-10906-7.

Hamiltons (2017) Irving Penn. Available from: http://www.hamiltonsgallery.com/artists/irving-penn/series/cigarettes/ [Accessed 26th

September 2017]

Hargreaves, H. (2017) No Seconds. Available from: http://henryhargreaves.com/no-seconds [Accessed 8th November 2017]

Hawkins, G. (2005) ‘Plastic Bags’ in The Ethics of Waste: How We Relate to Rubbish. New York: Rowman & Littlefield Publishers, pp. 24- 35

InsaneNutter (2007) Cillit Bang Advert 1. YouTube [Video] 17 April. Available from: https://www.youtube.com/watch?v=lrMD_z_FnNk [Accessed 8th November 2017]

Ian Knaggs (2017) Product Photography. Available from:https://ianknaggs.com/product-photography/ [Accessed 20th October 2017]

Jan Forys (2016) TYSKIE Radler commercial. YouTube [Video] 29 Aug. Available from: https://www.youtube.com/watch?v=DQz8nbJwcek [Accessed 27th November 2017]

John Stezaker (2017) Wikipedia [Online] 25th October. Available from: https://en.wikipedia.org/wiki/John_Stezaker [Accessed 7th December 2017]

Kennard Phillipps (2017) Photomontage [Online] Available from: www.kennardphillips.com/category/photomontage/ [Accessed 6th December 2017]

KFC UK and Ireland (2017) The Whole Chicken. YouTube [Video] 17 Jul. Available from: https://www.youtube.com/watch?v=KykM1kwdaOA [Accessed 27th November 2017]

KFC UK and Ireland (2017) YouTube [Video] 3 Jul. Available from: https://www.youtube.com/watch?v=pWRYvUZhBsA [Accessed 27th November 2017]

KFC UK and Ireland (2017) The KFC Clean Eating Burger. YouTube [Video] 28 Feb. Available from: https://www.youtube.com/watch?v=VxkSU-N-igE [Accessed 27th November 2017]

Kiely, R. (2017) Commercial: Studio Still life. Available from: http://www.richardkiely.co.uk/birmingham-photography-product-studio [Accessed 24th

November 2017]

Lagon, P. (2015) 3 Things We Can Learn From: Irving Penn. Available from: http://www.ucreative.com/features/3-things-can-learn-irving-penn/ [Accessed 26th

September 2017]

Lindner, C. and Meissner, M. (2015) Global Garbage: Urban Imaginaries of Waste, Excess and Abandonment. [Online] 1st ed. London: Routledge. [Accessed 19th October 2017]

luvthe1950s (2013) 1950’s Camel Smoking Advert. YouTube [Video] 20 Mar. Available from: https://www.youtube.com/watch?v=sxrCjmqRTz0 [Accessed 27th November 2017]

Lalwani, R. (2017) Henry Peach Robinson, the Pictorialist. [Online] Available from: http://betterphotography.in/perspectives/great-masters/henry-peach-robinson-the-

pictorialist/25794/ [Accessed 7th December 2017]

Linder Sterling (2017) Wikipedia [Online] 29th October. Available from: https://en.wikipedia.org/wiki/Linder_Sterling [Accessed 7th December 2017]

Lindner, C. and Meissner, M. (2015) Global Garbage: Urban Imaginaries of Waste, Excess and Abandonment. [Online] 1st ed. London: Routledge. [Accessed 19th October 2017]

Maestro Ziikos (2017) Trump Sings New Rules by Dua Lipa /NOW ON iTUNES. YouTube [Video] 29th Sep. Available from: https://www.youtube.com/watch?v=on9UFsxdC0Q

[Accessed 28th November 2017]

Maestro Ziikos (2017) Camila Cabello – Havana ( cover by Donald Trump ). YouTube [Video] 24 Nov. Available from: https://www.youtube.com/watch?v=74gx0v5ZJzw [Accessed 28th

November 2017]

Morphy Richards (2015) Morphy Richards – Accents Pyramid Kettle & Four Slice Toaster (102004 & 242004) YouTube [Video] 6 Aug. Available from:

https://www.youtube.com/watch?v=GtLIUzggQNQ [Accessed 27th November 2017]

Money For Nothing (2017) Series 3, Episode 9 [Online]. BBC One, 17th March. Available from: https://www.bbc.co.uk/iplayer/episode/b08jm7v0/money-for-nothing-series-3-

episode-9#group=b077nzdc [Accessed 21 November 2017]

MOMA (2017) Cindy Sherman. Available from: https://www.moma.org/interactives/exhibitions/2012/cindysherman/gallery/9/#/4/

untitled-150-1985 [Accessed 3rd October 2017]

Nhgyen, K. (2017) Crashed. Available from: http://www.kyongnguyen.com/crashed [Accessed 24th November 2017]

Ortiz, E. (2017) Products. Available from:http://www.esphotoworks.com/Product-Photography-San-Diego/ [Accessed 24th October 2017]

O’ Hagan, S. (2017) Strangers, Secrets, and desire: the surreal world of Sophie Calle. The Guardian [Online] 4 March. Available

from:https://www.theguardian.com/artanddesign/2017/mar/04/strangers-secrets-and-desire-the-surreal-world-of-sophie-calle [Accessed 26th September 2017]

Penn, I. (2017) The Irving Penn Foundation. Available from: https://www.irvingpenn.org/biography/ [Accessed 3rd October 2017]

Peres, R. (2013) The Focal Encyclopaedia of Photography. [Online] 4th ed. Burlington: Focal Press. [Accessed 15 March 2017]

Parikka, J. (1976) A Geology of Media. [Online] Minneapolis: University of Minnesota Press. [Accessed 19 October 2017]

RussianStandardTV (2011) Russian Standard Vodka TV commercial. YouTube [Video] 14 June. Available from: https://www.youtube.com/watch?v=rIi-9nhmig0&feature=youtu.be

[Accessed 20th October 2017]

Rob Grimm (2017) Drinks. Available from:http://rggphoto.com/drinks/ [Accessed 20th October 2017]

Siglio (2017) Suite Venitienne Sophie Calle. Available from: http://sigliopress.com/book/suite-venitienne/ [Accessed 27th September 2017]

Schultz, C. (2017) discard. Available from: http://www.c4therine.net/discard/ [Accessed 27th September 2017]

Sketchers (2015) SKETCHERS SPORT with MEMORY FOAM COMMERCIAL. YouTube [Video] 13 April. Available from:https://www.youtube.com/watch?

v=3X1ZamMCiWo&feature=youtu.be [Accessed 20th October 2017]

Samsung Mobile USA (2017) Samsung Galaxy: The Rest of Us. YouTube [Video] 26 Feb. Available from: https://www.youtube.com/watch?v=JKpeIxh4ScY [Accessed 8th November

2017]

SiggasNation™ (2017) Pepsi Commercial 2017 (USA). YouTube [Video] 24 Jun. Available from: https://www.youtube.com/watch?v=XnAEnqU8GSk[Accessed 8th November 2017]

Skidmore, M. (2016) Dutch and Flemish Sill Lifes Rendered in Plastic. AnOther [Online] 18 Jan. Available from: http://www.anothermag.com/art-photography/8216/dutch-and-

flemish-still-lifes-rendered-in-plastic [Accessed 28th November 2017]

Saachi Gallery (2017) John Stezaker [Online] Available from: http://www.saatchigallery.com/artists/john_stezaker.htm [Accessed 7th December 2017]

Sontag, S. (2005) On Photography. [Online] 1 ed. New York: Rosettabooks [Accessed 7th December 2017]

Stratton, J., ed. (2001) The Desirable Body: Cultural Fetishism and the Erotics of Consumption. [Online] 1st ed. Manchester: Manchester University Press. [Accesseed 19th

October 2017]

Tate (2017) Christian Marclay: The Clock [Online] Available from: www.tate.org.uk/whats-on/tate-modern/exhibition/christian-marclay-clock [Accessed 7th December 2017]

Tate (2017) Linder. [Online]. Available from: www.tate.org.uk/art/artists/linder-10844 [Accessed 7th December 2017]

Tate (2017) John Stezaker. [Online]. Available from: http://www.tate.org.uk/art/artworks/stezaker-mask-xiv-t12347 [Accessed 6th December

2017]

Tate (2017) VANITAS. Available from: http://www.tate.org.uk/art/art-terms/v/vanitas [Accessed 24th October 2017]

The American Museum of Photography (2017) Photographic Fictions: Montages, Multiples and Mischief: Henry Peach Robinson [Online] Available from:

https://www.photographymuseum.com/phofictionsmontages2.html [Accessed 6th December 2017]

The J. Paul Getty Trust (2017) Henry Peach Robinson. [Online] Available from: http://www.getty.edu/art/collection/artists/1936/henry-peach-robinson-british-1830-1901/

[Accessed 7th December 2017]

Tatarevic, V. (2017) Product. Available from:http://www.tatarevic.com/project/product/ [Accessed 24th October 2017]

TheAzureWhale (2012) The Corporation. YouTube [Video] Available from: https://www.youtube.com/watch?v=Y888wVY5hzw [Accessed 1st November 2017]

The Metropolitan Museum of Art (2017) Still Life with a Skull and a Writing Quill. Available from: https://www.metmuseum.org/art/collection/search/435904 [Accessed 8th November

2017]

voloproductions (2013) Reveal Everything – Belvedere Vodka. YouTube [Video] 27 January. Available from: https://www.youtube.com/watch?v=4OjF_BVgsAQ&feature=youtu.be

[Accessed 20th October 2017]

Vinnie Rattolle (2013) 58 TV Commercials from 1977. YouTube [Video] 7 Jun. Available from: https://www.youtube.com/watch?v=9zzRp-jxx0E&t=664s [Accessed 8th November 2017]

Wood, A., Houghton, A. (2017) Banksy art including iconic white rat removed from walls and shipped off to Qatar in £3.9m deal. The Bristol Post [Online] 25 Sep. Available

from:http://www.bristolpost.co.uk/news/bristol-news/banksy-art-including-iconic-white-527434 [Accessed 28th September 2017]

White Cube (2017) Sophie Calle: Suite Venitienne. Available from: http://whitecube.com/exhibitions/sophie_calle_suite_venitienne_duke_street_1997/

[Accessed 27th September 2017]

White, A. (2014) 12 Pictures of Death Row Prisoners’ Last Meals. Buzzfeed [Online]. 18th February. Available from: https://www.buzzfeed.com/alanwhite/12-pictures-of-death-row-

prisoners-last-meals?utm_term=.div5AWYdQA#.iey1ojaWMo [Accessed 8th November 2017]

Waste Land (2010) [Online] Directed by Lucy Walker; Karen Harley. UK: Almega Projects. Available from: https://www.amazon.co.uk/dp/B00ET1Q9YW?

ref_=imdbref_tt_wbr_aiv&tag=imdbtag_tt_wbr_aiv-21 [Accessed 21 November 2017]

Williamson, J. (1995) Decoding Advertisements: Ideology and Meaning in Advertising. London: Boyars.

yann jones (2011) BMW Commercial. It’s only a car. YouTube [Video] 16 Sep. Available from: https://www.youtube.com/watch?v=JY02BTJrrOc [Accessed 8th November 2017]

Zavos, A. (2011) Exploding Electronics Photographed by Khuong Nguen. Feature Shoot [Online] 16 February. Available from:https://www.featureshoot.com/2011/02/khuong-

nguyen-paris/ [Accessed 24th November 2017]

Zatoblade (2007) Bud Light Present – Real Men of Genius Commercials. YouTube [Video] 31 Jul. Available from: https://www.youtube.com/watch?v=lsC3ni7A88M&t=103s [Accessed

8th November 2017]

Zylinska, J (2014) Minimal Ethics For the Anthropocene. Michigan: Michigan Publishing. pp. 105-121

1:18 Addicted Since 2005 (2017) Pepsi Max Ginger advert 2017. YouTube [Video] 21 June. Available from:https://www.youtube.com/watch?v=0l2HiyJ4o18&feature=youtu.be

[Accessed 20th October 2017]