Photographic Icons By Philip Gefter: Rhetorical Analysis

In the world of art, the photograph has conventionally been used to establish original subjects that document and reflect cultures as accurately as possible. However, in Philip Gefter’s essay, “Photographic Icons: Fact, Fiction, or Metaphor”, Gefter points out that, “just because a photograph reflects the world with perceptual accuracy doesn’t mean it is proof of what actually transpired. (208)” What Gefter is telling us is that it is that the ordinary reality of the image is not what is important; the metaphoric truth is the significant factor. What makes photojournalism essential is that it helps show us how to view the world in an individualized way. It is, essentially, a public art, and its power and importance is a function of that artistry. From the war photography of Mathew Brady (who was known for moving dead bodies to create a scene) to Ruth Orkin (who directed a second shot to capture “American Girl in Italy”, when the first “real” shot was not to her liking), Gefter underscores that, although these shots are not the unedited version of life,
We revere some photographs because they are images of a fact or time in history, others are compelling because they capture an aspect of the human condition, and yet others appeal to us because they point out to us something beautiful; it’s inspiring and exciting to be reminded that the world can be good and charming. All three of these perspectives ring true for the Parks photograph. She is an icon herself; her story is a force of history. She helped define human condition for an entire race of people and bolstered the Civil Rights Movement. And it is, without a doubt, a quiet, beautiful tale of a kind, demure woman who wanted change. As Gefter asserts, “Here is a staged document that has become a historic reference point (214-215)”, the power of this picture hangs on the basis that this is