Location
Title Statement Photography and the optical unconscious
Publication, Distribution, etc. (Imprint) Duke University Press, Durham : 2017
Dewey Decimal Classification Number
SAB Classification Code
Physical Description
General Note Includes bibliographical references and index.
Formatted Contents Note Photography's Weimar-era proliferation and Walter Benjamin's optical unconscious / Andrés Mario Zervigón "A hiding place in waking dreams" : David Octavius Hill, Robert Adamson, and Walter Benjamin's "Little History of Photography" / Shawn Michelle Smith Freud : the photographic apparatus / Sarah Kofman "To adopt" : Freud, photography, and the optical unconscious / Jonathan Fardy The politics of contemplation / Zoe Leonard and Elisabeth Lebovici Freud, Saturn, and the power of hypnosis / Mary Bergstein On the couch / Mignon Nixon Vision's unseen : on sovereignty, race, and the optical unconscious / Mark Reinhardt Sligo heads / Kristan Horton Developing historical negatives : the colonial photographic archive as optical unconscious / Gabrielle Moser The purloined image / Laura Wexler The Vancouver cart s : a brief mémoire / Kelly Wood Vietnamese photography and the look of revolution / Thy Phu Shooting in the dark : a note on the photographic imagination / Sharon Sliwinski Slow / Terri Kapsalis
Subject - Chronological Term
Subject - Topical Term
ISBN 9780822369011 082236901X 9780822363811 082236381X
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Photography is one of the principal filters through which we engage the world. The contributors to this volume focus on Walter Benjamin's concept of the optical unconscious to investigate how photography has shaped history, modernity, perception, lived experience, politics, race, and human agency. In essays that range from examinations of Benjamin's and Sigmund Freud's writings to the work of Kara Walker and Roland Barthes's famous Winter Garden photograph, the contributors explore what photography can teach us about the nature of the unconscious. They attend to side perceptions, develop latent images, discover things hidden in plain sight, focus on the disavowed, and perceive the slow. Of particular note are the ways race and colonialism have informed photography from its beginning. The volume also contains photographic portfolios by Zoe Leonard, Kelly Wood, and Kristan Horton, whose work speaks to the optical unconscious while demonstrating how photographs communicate on their own terms. The essays and portfolios in Photography and the Optical Unconscious create a collective and sustained assessment of Benjamin's influential concept, opening up new avenues for thinking about photography and the human psyche. Contributors. Mary Bergstein, Jonathan Fardy, Kristan Horton, Terri Kapsalis, Sarah Kofman, Elisabeth Lebovici, Zoe Leonard, Gabrielle Moser, Mignon Nixon, Thy Phu, Mark Reinhardt, Shawn Michelle Smith, Sharon Sliwinski, Laura Wexler, Kelly Wood, Andrés Mario Zervigón
Acknowledgments p. vii Introduction p. 1 Photography's Weimar-Era Proliferation and Walter Benjamin's Optical Unconscious p. 32 "A Hiding Place in Waking Dreams": David Octavius Hill, Robert Adamson, and Walter Benjamin's "Little History of Photography" p. 48 Freud: The Photographic Apparatus p. 75 "To Adopt": Freud, Photography, and the Optical Unconscious p. 81 The Politics of Contemplation p. 93 Freud, Saturn, and the Power of Hypnosis p. 104 On the Couch p. 134 Vision's Unseen: On Sovereignty, Race, and the Optical Unconscious p. 174 Sligo Heads p. 223 Developing Historical Negatives: The Colonial Photographic Archive as Optical Unconscious p. 229 The Purloined Image p. 264 The Vancouver Carts: A Brief Mémoire p. 281 Vietnamese Photography and the Look of Revolution p. 286 Shooting in the Dark: A Note on the Photographic Imagination p. 321 Slow p. 339 Contributors p. 363 Index p. 367