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  • Sontag Collective Memory

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    Theory of collective memory

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    Theory of collective memory

    Авторское право:

    © All Rights Reserved
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    Отметить как неприемлемый контент
    13 просмотров7 страниц

    Sontag Collective Memory

    Загружено:

    Anonymous 8ooQmMoNs1
    Theory of collective memory

    Авторское право:

    © All Rights Reserved
    Скачайте в формате PDF или читайте онлайн в Scribd
    Отметить как неприемлемый контент
    из 7
    REGARDING THE PAIN OF OTHERS Susan Sontag ‘automo nn pa oF ores. Ci © 209 Wy Susan San. Al ‘igh vocred. Pd the ated Sn oA: Bao at Bok my be ede aden ny manne arr we ‘darren For inom ales Pear 1 Ba Aram, Now Sek NY oie vidos et US pd dead y Ry, Se seo Tae Matacic Maat ae ‘oes 16002017005 xeon HS ‘inert rere cn Desig y Cand Ppt ayo Cogs Cain Poe Data Sontag, Sn, 1885- gg de an oi Suen Song 1 Marand ony We phomgrpy-Sol spec. 2. Waa Pepe SET ipat sama it hse he at Ss by Fr, Soma Ge | } for David bo Susan sonrAe ranted. As a consequence, morally alert photographers ‘nd ieologues of photography have BECome increasingly ‘concerned with the mes of exploitation of sentiment (pry, compassion, indignation) in war photography and of tote ways of prowoking feeling Photographer wimeses may think it more correct ‘morally o make the spectacular not spectacular But the spectacular is very much part of dhe religious narratives by which sulfering, throughout most of Western history, has been understood. To feel the pute of Christian iconography in certain wartime oF disaser-time photo- ‘raphs is nota sentimental prejecion. It would be hard not to dicen the lineaments of the Pet in W. Eugene Smith's picture of a woman in Minamata cradling her deformed, blind, and deaf daughter, or the template of the Descent fiom the Cross in several of Don MeCullin's icin of dying American soldiers in Vietnam. How- iver, uch perceptions—which add aura and beauty— may be on the wane, The German historian Barbara Durden has said that when she was teaching a course in the history of representations of the body at « large American sate university some years ago, not one sx dentin a clase of twenty undergraduates could identify the subject of any ofthe canonical paintings of the Flax gelation she showed as sides, (7 think if religious pic- tur,” one ventured) ‘The only canonical image of Jesus Regarding the Patn of others a she could count on most students being able t identi was the Crucifixion PuorocRarits onjecriry: they tur an event'or a person into something that can be posseted. And photo- traps are a species of alchemy, for all that they are prized as a tansparent account of reality Often someting looks, oF fle to look “beter” in a photograph. Indeed, itis one of the functions of photog- raphy to improve the normal appearance of things, (Hence, one is sways disappointed by a phocograph that 's not laterng) Beatifing is one case operation of ‘he camera andi ead w bleach oir smal pone to what fying, showing something at ie “worst, is a more modern fumetom: didactic it invites an ‘active response. For photographs to accuse, and postily tw aler conduct, they mut shock, ‘An example: A few years ago, the public health author. ites in Canada, where it had been exited thae smoke ing kils forty-five thousand people a yeas, decided to supplement the warning printed on every pack of ciga: reites with a shock-photograph of cancerous lang, or a stroke-

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