Photography: History and Theory

Emerling, Jae

doi:10.4324/9780203153215

Cited by 48 publications

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“…Examples of those operating within an emergent paradigm shift in photographic theory and criticism include Azoulay (2008), 2012), Campbell (2015), Chouliaraki (2013), Emerling (2012), Kennedy (2016), Kozol (2014), Linfield (2010), Ritchin (2010), Schwartz (1998), Sliwinski (2011), Levi Strauss (2014.…”

Section: Disclosure Statementmentioning

confidence: 97%

Photography: The Abundant Art

Hariman

Lucaites²

2016

Photography and Culture

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Section: Disclosure Statementmentioning

confidence: 97%

Photography: The Abundant Art

Hariman

Lucaites²

2016

Photography and Culture

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“…27 El uso de las fotografías en estos reportajes incorpora, como en este caso, un discurso paralelo o de refuerzo, que en otros momentos se formula directamente como fotomontaje. Emerling (2012 voluntaria y masivamente la religión, convencidos de que esta conspira contra el socialismo y, consecuentemente, contra sus derechos; según él, son los trabajadores -no el Estado-quienes piden, por ejemplo, que las iglesias se destinen a usos culturales. El mensaje resultaría seguramente caro para quien desde joven había protestado contra la hipocresía social de la Iglesia católica en España y los efectos desmovilizadores de la religión 29 .…”

Section: Viaje Al País De Los Sóviets: Contando Lo Vividounclassified

Helios Gómez: la invisibilidad de la revolución gitana

Sierra

2018

Hist. Polít. Ideas, Procesos Mov. Soc.

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Resumen Este artículo estudia el discurso político de Helios Gómez, un artista gitano comprometido con el anarquismo y el comunismo alternativamente en el tiempo de entreguerras. El análisis contextualiza su relato sobre la nueva sociedad soviética como modelo a seguir en el amplio corpus de literatura de este género y, a la vez, lo interpreta a la luz de las culturas políticas que le dan sustento. Además, propone entender la identidad gitana de este artista gráfico como clave de su capacidad para convertir un discurso común en un discurso utópico lleno de atrevimiento proyectivo, reivindicando la igualdad étnica como parte de la justicia social. El artículo atiende al entrecruzamiento de marcos identitarios diversos-políticos, de clase, étnicos-que constituyen el entramado a partir del cual se construyó una demanda de reconocimiento de derechos para la minoría gitana, marginada en los procesos de modernización política.

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“…In an essay for a 2007 art exhibition, Beautiful Suffering: Photography and the Traffic in Pain , Mark Reinhardt pointed out that one consistent critique, starting from the Frankfurt School and going up to the late Allan Sekula, has been that aestheticizing suffering is “politically reactionary” and invites “sadism” on the part of the viewer. Reinhardt pushed back against this position, arguing that Sekula’s charge of “retinal excitation” (Emerling, 2012, p. 106) makes an error by forcefully separating the purely visual impact from the critical possibilities. For Reinhardt, images have far more possibility than this binary, as he asked, “Is there not something in images that resists or eludes every effort to fix meaning through language?” (Reinhardt, 2007, p. 24).…”

Section: On Brutalitymentioning

confidence: 99%

Simulation at Wars’ End: A “Documentary” in the Field of Evidence Quest

Mohaiemen

2016

BioScope: South Asian Screen Studies

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The release of Muktir Gaan in 1995 ended a long, politically induced drought in films about the 1971 war that created Bangladesh. Built by Tareque and Catherine Masud from repurposed “found footage” shot by Lear Levin, the film was received by most Bangladeshi audiences as an exact documentary. The film crew’s explicit discussion of simulations and the inclusion of a “making of” section in the digital versatile disc (DVD) release a decade later have done little to change audience perceptions. This believing audience derives from a willing suspension of a skeptical eye, due to an absence of a moving image record of the war. The rewriting of story has been a crucial aspect of the documentation of, and debates around, national liberation wars. An initially declarative, and oral, culture around Bangladeshi war memories in the 1970s has been replaced by the search for evidence in the context of recent high stakes war crimes trials. What I want to suggest is that audiences have different modes of viewing specific to narratives that have become sacrosanct. They may be skeptical, rational, and evidentiary audiences for other objects, but with such sacred narratives they transform themselves, again, into a believing public.

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Photography: History and Theory

Cited by 48 publications

References 0 publications

Photography: The Abundant Art

Photography: The Abundant Art

Helios Gómez: la invisibilidad de la revolución gitana

Simulation at Wars’ End: A “Documentary” in the Field of Evidence Quest

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