ABSTRACT
Having established the power of framing as a metaphor for understanding composition and interpretation in oral and written language, the second chapter will take a closer look at framing in the visual world. Why are pictures and photographs ‘framed’? How is it done, and what kinds of framing are at play? To what degree is the reaction against formal framing just another kind of framing device? Is it indeed possible not to frame in the visual arts? The chapter will proceed via a series of examples or cases. It will suggest that frames are there to be broken or transgressed as well as to contain and defi ne.
