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narrativa e di portafoglio

narrative and portfolio of Ian Siegel

Effects of Good Government on the City and Countryside

The primary effect of good government is economic prosperity–industry is thriving and there is work to be done. Technology is advancing and affordable. Culture, too, is flourishing; there is production of art and music and an audience is present to appreciate it (notice the image captioned “génération,” which I selected to encompass art and technology). While not everybody can afford some of the luxuries depicted, those who have less still find time for recreation and happiness; the happiness of the people is not determined by their possessions, but an overall feeling of security and the freedom to LIVE.

I paid special attention to the layout and juxtaposition of certain images, particularly the images in the lower left corner. In order to emphasize a difference between ascetic life and luxurious life (la vita dolce) in the city, yet show how each can be “prosperous” in their way under good government, half of the transition between the images is achieved by tearing the magazine paper, while the other half is carefully cut around the figure of the woman on her rooftop golden chaise lounge. An effort to introduce prosperity in the countryside is introduced above the nuns playing volleyball with a woman gazing into what should be a pool, but I turn her gaze to the spartan lifestyle of the nuns in the city and align the corner of the pool with the corner of the buildings in the nuns’ image.

Effects of Bad Government on the City and Countryside

As far as content goes, I looked for images that represented themes of a corrupt or distant government–absent (mother and child in wartime ruins), pompous (man in front of villa, walking on blindfolded girl’s head), excessive in surveillance (Alexis comic), indifferent (middle finger), cut-throat (I’ll let you pick out which image represents that), and the effects of such a government are especially evident in the symbolic thunderstorm graphic, desolation (desert parking lot), and the obvious “End of the World” text graphic.

Again, care is taken in the arrangement of certain images, in this case special attention is given to the pompous-looking man in front of his expensive countryside villa (in the magazine, though, he was made out to be a scholar and quite a gentleman. He just had a look to him that could be twisted into a corrupt-government-official vibe). I place him on an angle, walking on top of the head of the black-and-white image of a blindfolded, scared-looking girl, as if his prosperity comes at the unjust expense of people like her. On the opposite side of her head, to the bottom-left, was an image of three shirtless men making clowns of themselves; a contrasting image to the dressed-up man opposite the girl, but whose position is meant to give them an equal sort of pertinence to her life. Their picture is framed by a torn image of a pestilence-plagued rose garden, symbolizing the kind of damage done by clowns in office.

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