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Anna Quintana
Dr. Oguine
English 1201- ZGC
29 October 2001
The Power of Images
The battle for superiority and dominance between words and images is long and
on-going. Both can be found everywhere, mostly in books, magazines, television,
paintings, and movies. However, in more recent years, the dominance of images over
words can be seen. In a world where better, faster, and easier communication is
necessary, images are a far better option than words. Mitchell Stephens in “By Means of
the Visible: A Picture’s Worth,” Ward Churchill in “Crimes Against Humanity,” and the
director of Within These Walls, Mike Robe, concur that images such as gestures,
symbols, and pictures have a widespread and profound influence. In truth, “painting is
much more eloquent than speech, and often penetrates more deeply into one’s heart”
(Stephens 473). Thus, images are more powerful than words because they communicate
more clearly and concisely, cater for a wider and more diverse audience, and connect
with people on a deeper level.
Images such as pictures dominate words because they can relay messages in a
clear and succinct manner. The purpose of being able to communicate in the most
effective way possible is to spread knowledge and information. However, when
miscommunication becomes a factor and a problem, the quality of the knowledge being
relayed becomes tainted. Stephens has found that images are a way to remedy this. He
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reasons that because “primates are visual animals, and think best in pictorial or geometric
terms,” humans need images in order to fully explain and/or understand a concept (480).
Unfortunately, the Nazis understood the power of this theory. Churchill found that while
spreading anti-Semitic propaganda, the Nazis drew “grotesque caricatures of Jewish
faces” (498). Immediately, messages of inferiority and hatred spread throughout
Germany. Even without words, such pictures had a profound effect. It influenced
“average Germans to later indulge in the outright liquidation of Jewish ‘vermin’” (501).
Even though images were used negatively, it is clear that they have a deep effect on
people’s perception and understanding. Words, however, cannot have the same effect.
Because abstract words and emotions such as hate require “a deep understanding,” they
“can be put into images but are difficult to put into words” (Stephens 480). Therefore,
images remain dominant over words because a single picture can depict complex
emotions that no word or group of words can accomplish.
The universal appeal of images, such as symbols, also assists in its ability to
garner a wide and diverse audience. Images can speak and move people, regardless of
their intellectual level or cultural background. In fact, people often “take advantage of
the accessibility of images to aid those who may not understand a particular language”
(Stephens 479). Oftentimes, a foreigner’s ability to communicate to others is hindered by
his or her reliance on foreign language and words. However, when the same person sees
a skull-and-crossbones symbol, he or she can understand this to mean danger. The ability
for images such as this to “take the place of words” is a great advantage, especially in
today’s multi-racial, multi-lingual world (476). The universality of images is also
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acknowledged in America. However, like in Germany, symbols are used to spread
insulting and stereotypical ideas about a particular culture. In effect, “a substantial
number of American Indians have protested the use of native names, images, and
symbols as sports team mascots and the like” (Churchill 497). These protestors claim
that such degrading images teach young children “a virulently racist practice” (497).
They insist that dehumanizing messages can be understood by everyone- whether a
person is a young, African-American child or an old Caucasian. Thus, whether images
are used positively or negatively, its ability to reach and impact a variety of people is still
far greater than words.
Furthermore, people connect with images on a deeper, more personal level than
words. Images can “excite the emotions, which are more effectively aroused by things
seen than by things heard” (Stephens 479). The women’s facial expressions and gestures
in the movie Within These Walls prove this. For example, the sight of the nun’s
discolored and greatly scarred arm proves to the audience that her life is harder than it
was previously depicted. Such an image brings about deeper, more complex levels of
emotion such as pain, sadness and misfortune without requiring any explanation in
words. Also, images such as gestures are necessary in order for people to successfully
interact with one another. Listening to one another or reading written text is not
sufficient for a person to fully understand a particular message. To be more specific,
words and “letters don’t smile warmly or look intently” (Stephens 481). Because of this,
people naturally tend to observe each other while interacting, usually “by observing
people’s faces as they speak” (481). In fact, non-verbal communication, such as a frown,
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grimace, or smile, is greatly used in the movie between the inmates and guards. Officer
Byrd’s stern, rigid face and posture symbolize power and authority. Likewise, Joan’s
wrinkled, darkened, and defeated expression evokes powerlessness and fatigue. Because
of the obscurity of words, images are an essential component for explaining complicated
thoughts upon audiences.
Finally, images, whether they are pictures, symbols or gestures, are more
advantageous than words. Stevens, Churchill, and the director of Within These Walls,
Mike Robe, all agree that images’ independence from written text shows their versatility
and power in sending thoughts and insights to people. The lack of abstractness and
obscurity is their greatest strength because they allow people to connect their thoughts
with specific and concrete ideas and feelings. Their influence on society’s way of
communicating is great and long-lasting. Images will forever be superior to words in
their ability to spread ideas to a diverse and complicated world.
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Works Cited
Churchill, Ward. “Crimes against Humanity.” The Presence of Others. 3rd ed. Ed.
Andrea A. Lunsford and John J. Ruszkiewicz. New York: Bedford, 2000. 497504.
Stephens, Mitchell. “By Means of the Visible: A Picture’s Worth.” The Presence of
Others. 3rd ed. Ed. Andrea A. Lunsford and John J. Ruskiewicz. New York:
Bedford, 2000. 473-487.
Within These Walls. Dir. Mike Robe. Perf. Latanya Richardson, Maria Herrera,
Lucinda Davis, Karen Glave, Lynne Adams. Lifetime Original Movie, 2001.