An Analysis of Global Photography: Feminism, Culture, and Ideals

This essay analyzes the portrayal of feminism in global photography, examining how artistic works shape and reflect cultural ideals. The author critiques the representation of women, contrasting the idealized image of white American women with the perceived modesty of African and bronze women. The essay supports the view that the emphasis on luxury and social status in photography misrepresents the true value of a woman, advocating for modesty, integrity, and a focus on family and moral principles. The author agrees with the opinion, supporting the importance of embracing natural dimensions and rejecting the societal pressures that deviate from the true merit of life. The essay references several sources, including works by Amos, Bhabha, and Botting, to support its arguments and provide a comprehensive analysis of the topic.

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Question 1: synopsis statement
Global photography
Various artistic works have been used to communicate information. The global artistic
work of photography has raised different thoughts and opinions.
Amos (3-20) “The colour of sex” depicts the various ideologies that are characterized by the
civilization of man to the current era. The author uses a series of global photography work to
contrast the cultural ideals of feminism that are supported by many people to give the value of a
true woman.
A picture of a global woman is manifested through the artistic work of photography. The
various global aspects are analysed and findings are based on the various concluding view points
of the authors.
Photography of white American women to present their sexuality based on the high social life
standards is one such fallacy.
“The idealization of the mother-child bond is seen in everything from the warm TV relationships
of Juner Clever with Wally and Beaver to the cover of a Life magazine issue of 1956 devoted to
“The American woman” (Bhabha, 18-36).

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Moreover, the presentation of an American white woman on the forefront of most
magazines read by the Black women and their fellow bronze ladies worries. The white skinned
women with body exposing dress images are merited; the true value of a lady. They depict real
21ST century ladies. These women are driven by beauty and luxuries. Furthermore, the white
skinned women are presented alongside image cars to depict their rank within the social ranking.
The mother-child relationship is overemphasized. This is represented by images of luxurious life
settings of the white skinned beautiful ladies together with their richly manifested children.
Many of the teenage girls are lured to aspire this “civilized life (: Margolis, 1994; 19)
By contrast, the African and bronze women are characterized as of low feminism. ‘For
the French surrealists of the 1990s the exotic; unencumbered sexuality of non-Western peoples-
and African women in particular-represented an implicit criticism of the repression and
constraint of European sexuality.’ (Catherine and Jane, 14)
The photography picture depicts their modest images based on dressing and low appealing social
class. The author approves of their utilitarian qualities.
The white skinned woman presents a more complex cultural history to the current era associated
with immense radical changes. For instance, Madonna paintings that has been used to evoke the
mother’s day celebrations. The author even questions their ability to raise a child comfortably
well. The other recommends a true value of a woman based on the natural dimensions. A woman
who can raise the family well, have a stronger bond ties with the children and appear more
modest in her dressing codes.

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Modesty and moral principles guides more any human kind other than the appealing
luxurious objects. The author further recommends a generation that are not socially driven by
only all the social luxuries of the world. (Botting, 68).
Question 2: personal opinion
I agree with the author in support of the opinion that of global photography work that portrays
the cultural ideals of feminism in a wrong moral dimension as based on various luxurious views.
The support by many people to give the value of a true woman on luxuries is a false belief that
needs to be reconsidered.
Question 3: Support of the opinion on the study
The author of the study above presents an opinion of significance to the current society. The
ideas raised above are to be approved and conformed to for the best interest of an ideal life of
human kind.
A woman’s value is her dignity. The basic moral rights and wrongs represent the greatest
guiding principles of man. Modesty and integrity holds firm in contrast of luxurious life one
would aspire to have. The global artistic on photography needs to embrace such moral principles
in an effort to globalize and seek for an appealing work (Betterson, 42).
A further support is given on the classification of what is considered as a measure of an ideal
life. The natural existence of mankind needs to be embraced. The more people interfere with
their environment to look more attractive, the more mankind losses focus and deviate from the

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real merit of life.

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Work cited
Amos, V., and Prathriba. 1984. Challenging Imperial Feminism. Feminist review 17:3-
20.
Betterson,Rosemary, ED. 1987. Looking On: images of Feminityin the visual arts and
media. London: Pandora.
Bhabha, Homi K.1983. The Other Question—Homi K. Bhabha Reconsiders the
stereotype and colonial discourse. Screen 24 (6): 18-36.
Botting, Wendy. 1988. Posing for power/posing for pleasure: photographies and the
social construction of feminity. Binghamton, NY: University Art Gallery.