I was interested to come across a blurb about symbolic interactions. The blurb refers to what are perceived as limitations of the theory:
“Critics of this theory claim that symbolic interactionism neglects the macro level of social interpretation – the ‘big picture.’ In other words, symbolic interactionists may miss the larger issues of society by focusing too closely on the ‘trees’ rather than the ‘forest’. The perspective also receives criticism for slighting the influence of social forces and institutions on individual interactions.”
That’s an interesting blurb.
These are, possibly, valid criticisms. I look forward to learning more about such critiques.
The larger issues – the matters that entail the “big picture,” however such a picture is defined – are important. Even here, however, in my view, symbolic interactionism is of relevance.
For one thing, warfare and all that goes with it is concerned, among other things, with “total institutions,” a term that Erving Goffman – an avid student of symbolic interactionism – introduced. Military history is part of the “big picture.”
As well, economic forces, some would argue, and some would agree, are an integral part of the “big picture.” The discussion concerning the usefulness, or lack of usefulness, of the term “neoliberalism” is an important one. Symbolic interactionism is in a position to make a significant contribution to the discussion.
Erving Goffman, whose work was within the symbolic interactionist frame of reference, contributed significantly to our understanding of what frame analysis entails. I would argue that framing and frame analysis are a central concern of a “big picture” analysis.
Figure and ground
The “big picture,” as I understand, is also concerned with the fact that figure can readily be transformed into ground, and ground can be readily transformed into figure. This is a central argument of Art and Illusion (1960) by Ernst Gombrich.
Framing in photography
Framing is central to the photographer’s choice of what constitutes figure and what constitutes ground. This is a subject that the curator of photography John Szarkowski has analyzed capably, as in The Photographer’s Eye (1966).
Still photography is related, in turn, to cinema, which is, as Mark Cousins notes in The Story of Film (2004), “a medium which began as a photographic, largely silent, shadowy novelty and became a digital, multi-billion-dollar global business” (p. 7).
We can add that, as Steven Ascher and Edward Pincus note in The Filmmaker’s Handbook (2013), “the old, hard distinctions between filmmakers, video makers, and digital video artists no longer apply” (p.1).
However we use terms related to movies, moving pictures, cinema, and the like, I would argue that online videos, political and commercial advertising on television and online, and news reporting, are, indeed, part of the “big picture.” They are also amenable to symbolic interactionist frame analysis.
The Maltese Falcon
Critics have noted that The Maltese Falcon (1930) is the outcome of a “big picture” analysis by Dashiell Hammett of the political situation that arose as a consequence of social, political, and economic developments after the end of the First World War. The novel was adapted as a movie, The Maltese Falcon (1941). The movie works great on its own terms, yet it’s also relevant to keep in mind that the storyline originated as a “big picture” political analysis by the author.
It may be added that Hammett’s political analysis of 1920s world politics wouldn’t find traction among observers close to a century later. In fact, it may not have had much traction in the period when Hammett was writing.
Some contextual remarks are in order.
Erving Goffman’s application of frame analysis is made within the context of the social sciences as a formal discipline. Goffman made a point of not discussing his political views. We do not, to my knowledge, have a written record of how he felt about political matters or controversies.
Dashiell Hammett was a novelist and screenwriter. His political views were well known. He did not address frame analysis within the framework of the social sciences. Nor did the next two authors:
Ernst Gombrich was an art historian. He addressed art history within the context of art history and psychology. He also wrote about history in the wider sense.
John Szarkowski was a curator, photographer, critic, and historian.
In the wider sense, each of these authors engaged very effectively in frame analysis, a key component, as I understand, of symbolic interactionism as practised by social scientists such as Erving Goffman.
Neoliberalism as essentially contested concept
Writers who are concerned with enhancing the general usefulness of “neoliberalism” as an essentially contested concept are also concerned with frame analysis, a way of seeing that is at the heart of symbolic interactionism, from what I can gather.
Some critics, such as Jonathan Swarts (2013), argue that “neoliberalism,” as defined by some writers, is dedicated to a form of “rhetorical coercion” wherein the power of narrative trumps the power of fact and evidence. I mention that because much is at stake, with regard to such “big picture” topics – topics to which framing analysis can be profitably applied.
Collapse of an Empire: Lessons from Modern Russia (2007)
On first thought, a study such as Collapse of an Empire (2007) may prompt the view that framing analysis is at times besides the point. When a political and economic system is “unstable by its very nature,” as a blurb for the book (see link at start of this paragraph) notes, you’re dealing with questions regarding politics and economics. That’s the primary narrative.
Yet, even here, the framing matters. The frame of reference that is brought to bear regarding economic matters determines how those matters are addressed. In Collapse of an Empire, according to a jacket blurb by George Soros, Yogor Gaidar argues persuasively that today’s Kremlin leaders – as a consequence of a characteristic and ingrained worldview – “are heading down the same economic path that led their Communist predecessors to disaster.”
These are thoughts that occur to me regarding the blurb mentioned at the beginning of this blog post.