Practices of Looking would certainly be quick to point out that the photo in itself doesn't possess meaning -- "... rather, meanings are produced through the complex negotiations that make up the social process and practices through which we produce and interpret images" (Sturken and Cartwright 49). They would also point out that the viewer's interpretation of the photograph would depend upon their habitus, or their "set of dispositions and preferences we share as social subjects ... related to our class position, education and social standing" (60). Someone who was raised in the South during the 1950s might assume that the woman holding the baby is a nanny; someone who was born outside of the United States might not realize that Charleston is located in the South and thus wouldn't make the connection that a black woman would not hold a white child unless she was his caretaker. The viewer's understanding of the photograph would also change depending on the way it is shown. Seeing the photograph in a museum with a tour group doesn't necessarily glean the same reactions as scanning through the results of a Google image search of "Robert Frank photography." Ultimately, the meaning of the photograph depends upon the viewer, and their interpretation could vary depending on their mood, their location, their background, etc. Frank's intended message is still valid, but that isn't the most important message.
Film Art would begin the discussion of the photograph by commenting upon its form. The stylistic and narrative aspects of art interest Bordwell and Thompson much more than the theoretical questions of why and how we view art, like Sturken and Cartwright. Form is incredibly important to Bordwell and Thompson, as it "... can even make us perceive things anew, shaking us out of our accustomed habits and suggesting fresh ways of hearing, seeing, feeling and thinking" (50). The pair would probably choose to look for emotion within the photograph, and would comment that "... both emotions onscreen and our responses depend on the context created by form" (54). The focus is less on the viewer and more on the composition of the photo. Next, they would probably evaluate the photo based on their criteria (realism, morality, coherence, intensity of effect, complexity, originality) (58-9). While evaluation is subjective, the criteria serve to make an effort toward impartiality. In the end, Bordwell and Thompson want to focus more on the work itself, and less upon the people viewing it.
In short, PL chooses to focus on the viewer's situation and interpretation, while FA pores over the form of the photograph itself. Both methods complement each other nicely, and in using both the viewer can create a very holistic comprehension of the photo.
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