A brilliant, clear-eyed new consideration of the visual representation of violence in our culture--its ubiquity, meanings, and effects Watching the evening news offers constant evidence of atrocity--a daily commonplace in our "society of spectacle." But are viewers inured -or incited--to violence by the daily depiction of cruelty and horror? Is the viewer's perception of reality eroded by the universal availability of imagery intended to shock? In her first full-scale investigation of the role of imagery in our culture since her now-classic book On Photography defined the terms of the debate twenty-five years ago, Susan Sontag cuts through circular arguments about how pictures can inspire dissent or foster violence as she takes a fresh look at the representation of atrocity--from Goya's The Disasters of War to photographs of the American Civil War, lynchings of blacks in the South, and Dachau and Auschwitz to contemporary horrific images of Bosnia, Sierra Leone, Rwanda, and New York City on September 11, 2001. As John Berger wrote when On Photography was first published, "All future discussions or analysis of the role of photography in the affluent mass-media societies is now bound to begin with her book." Sontag's new book, a startling reappraisal of the intersection of "information", "news," "art," and politics in the contemporary depiction of war and disaster, will be equally essential. It will forever alter our thinking about the uses and meanings of images in our world.
Winner of the National Book Critics' Circle Award for Criticism.
Each essay in this book is part detective story, part philosophical meditation, presenting readers with a conundrum, and investigates the relationship between photographs and the real world they supposedly record.
Sontag's incisive intelligence, expressive brilliance, and deep curiosity about art, politics, and the writer's responsibility to bear witness have secured her place as one of the most important thinkers and writers of the twentieth century ...
Tucson: At night, from my upper bunk, testing Judith on the capitals of all the States in the U.S. The Chandler St. "Red Car" [Los Angeles]. Martha and Bill Hirsch. ... Learning that the Cord Meyer Apts. next door were "restricted.
Living in a "perfect" world without social ills, a boy approaches the time when he will receive a life assignment from the Elders, but his selection leads him to a mysterious man known as the Giver, who reveals the dark secrets behind the ...
"Martha Rosler traces the ways in which art draws its meaning from within its social and political frameworks. The book's two artworks and a related essay exemplify and investigate the social embeddedness of art.
For Syberberg there is always something more, and different, to say—as the two films on Ludwig he made in 1972 attest. Ludwig, Requiem for a Virgin King, which became the first film in his trilogy about Germany, pays delirious homage to ...
In this groundbreaking work, Ariella Azoulay thoroughly revises our understanding of the ethical status of photography.
This is an invaluable record of the creative output of one of the most inquisitive and analytical thinkers of the twentieth century at the height of her power.
Susie Linfield addresses the issue of whether photographs depicting past scenes of violence & cruelty are voyeuristic, arguing that if we do not look & understand that we are seeing at people, rather than depersonalised acts of inhumanity, ...