Characteristics of Picture - Al Jazeera Media Institute
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Characteristics of Picture

Characteristics Of Picture [Daylife]

Characteristics of Picture

As TV product, the picture has six characteristics, namely:

1.   Realism of moving picture: it partially interprets all the phenomena of merger and certainty that connects the audience with the film; that is presenting facts that viewers are much more like to believe, and this is associated with the willingness of viewers to be captivated by the scene and believe in what they see on the screen; giving an example for that what occurred in early cinema in villages and rural areas in West; a piece of the ceiling paint of old cinema house in Italian village collapsed onto the crowd during a volcanic eruption scene shown on the screen, the audiences were so panicked by the eruption, promptly rushed out to their rescue and fled away while few people were injured, as the scene has captured their imagination and interest. Unable to distinguish between image and reality the audiences believed that the eruption was genuine.

 2.   Features of temporal duration: which means that the moving picture is always connected to the present and as part of the real world, as each picture displayed is - in fact - represents the present, while the past and the possible future is a product of our personal judgment and stored information. The importance of this fact is that all contents of our consciousness are the living present.

 3.   The picture as aesthetic realism, which means that it provides selected vision of composite and refined nature; in a single word, it offers aesthetic vision rather than a simple matching copy of the nature. Every motion picture in the aesthetic work – the imaginative equivalent – is a piece of art considering that it fulfills creative vision and visual elements and universal power of communication. However picture in television and cinema (in the sense of pictures per second) differ from plastic art that it is not rigid but always moving. The picture frame cuts and defines a tiny part of the world and rejects the rest, while in television or film picture the frame remains imaginary and imperceptible because it never dismisses the flow of everything that surrounds the frame. The other auxiliary element is the sound, which keeps us connected with the frame surroundings, as the general atmosphere within the picture keeps us in the environment and continuity, even if everything in the picture does not clearly appear.

 4.   The picture's semiotic role: whatever appears on the screen means something and the picture is possible to suggest, not necessarily directly but in a symbolic way, visual interpretation based upon perception.

 5.   Singular expression: based on the picture's scientific function of two spatial variables, it picks up only quite specific appearances of nature of things, particularly if the picture is consistent with the accompanying commentary. In virtue of which it represents, the object describes itself - such as night, day ora vehicle – the picture doesn't show the genuine vehicle; it depicts a particular vehicle or a house … etc.; seeing things in pictures is different from seeing things face-to-face.

 6.   Picture's aesthetic portability, which refers to picture's flexibility, legibility, visual content and aesthetic value. This does not contradict characteristics of its singular expression, because the picture has singular meaning in terms of the material content and pictorial representation, but it is flexible within the association with the preceding and succeeding shots, and gives us the (meaning), which depends first on the technique of showing the content, and the viewer's mental content in later stage. In this context, audiences could interpret the picture in different ways as different pictorial elements convey the meaning of film. This is the experience level for recognizing various features in the picture based on social and cultural experiences that affect audiences’ responses. It's a dialectic relationbetweenaudiences and picture.