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Titel och upphov Picturing atrocity : photography in crisis
Utgivning, distribution etc. Reaktion Books, London : [2014]
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DDC klassifikationskod (Dewey Decimal Classification)
SAB klassifikationskod
Fysisk beskrivning 319 pages illustrations (some color) 24 cm
Anmärkning: Bibliografi etc. Includes bibliographical references.
Anmärkning: Innehållsbeskrivning, sammanfattning This title taps into the widespread interest in, and concern about, photographs of atrocity. The book contains a broad range of atrocity photographs from throughout history and around the world, as well as essays by well-known artists and photographers.
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*650 0$aDocumentary photography .
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*650 0$aAtrocities$vCase studies.
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*650 0$aAtrocities
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Ever since the landmark publication of Susan Sontag's On Photography, it has been impossible to look at photographs, particularly those of violence and suffering, without questioning our role as photographic voyeur. Are we desensitized by the proliferation of these images, and does this make it easier to be passive and uninvolved? Or do the images immediately stir our own sense of justice and act as a call to arms? Are we consuming the suffering of others as a form of intrigue? Or is it an act of empathy? To answer these questions, Picturing Atrocity brings together essays from some of the foremost writers and critics on photography today, including Rebecca Solnit, Alfredo Jaar, Ariella Azoulay, Shahidul Alam, John Lucaites, Robert Hariman, and Susan Meiselas, to offer close readings of images that reveal the realities behind the photographs, the subjects, and the photographers. From the massacre of the Sioux Indians at Wounded Knee to the torture of prisoners at Abu Ghraib, from famine in China to apartheid in South Africa, Picturing Atrocity examines a broad spectrum of photographs. Each of the essays focuses specifically on an iconic image, offering a distinct approach and context, in order to enable us to look again--and this time more closely--at the picture. In addition, four photo-essays showcase the work of photographers involved in the making of photographs of brutality as well as the artists' own reflections on these images. Together these essays cover the historical and geographical range of atrocity photographs and respond to current concerns about such disturbing images; they probe why we as viewers feel compelled to look even when our instinct might be to look away. Picturing Atrocity is an important read, not just for insights into photography, but for its reflections on human injustice and suffering. In keeping with that aim, all royalties from the book will be donated to Amnesty International.
Introduction p. 7 Response and Responsibility p. 15 Words Can Kill: Haiti and the Vocabulary of Disaster p. 17 Visible and Invisible Scars of Wounded Knee p. 25 Severed Hands: Authenticating Atrocity in the Congo, 1904-13 p. 39 Atrocity and Action: The Performative Force of the Abu Ghraib Photographs p. 51 Becoming Iconic p. 63 Photographing Atrocity: Becoming Iconic? p. 65 The Iconography of Famine p. 79 A Single Image of Famine in China p. 93 History at a Standstill: Agency and Gender in the Image of Civil Rights p. 105 Photographing Atrocity p. 115 Body on a Hillside p. 117 Crossfire p. 123 Circulation and Public Culture p. 133 The Iconic Image of the Mushroom Cloud and the Cold War Nuclear Optic p. 135 The Girl in the Photograph: The Visual Legacies of War p. 147 Atrocity, the "As If," and Impending Death from the Khmer Rouge p. 155 The Falling Man p. 167 Ordinary Atrocities p. 177 Street Photographs in Crisis: Cernauti, Romania, c. 1943 p. 179 Picturing the Perpetrator p. 189 War Trophy Photographs: Proof or Pornography? p. 201 Picturing an "Ordinary Atrocity": The Sharpeville Massacre p. 209 Atrocity Askance p. 225 Looking Askance p. 227 Documentary Pictorial: Luc Delahaye's Taliban, 2001 p. 241 The Execution Portrait p. 249 Toward a Hyperphotography p. 261 The Afterlife of Photographs p. 273 Lament of the Images p. 275 Photographic Interference p. 283 References p. 293 Contributors p. 313 Acknowledgments p. 317 Photo Acknowledgments p. 318 Permissions p. 319