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  1. Jewish American literary critic, theorist, novelist, and filmmaker.

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  1. I ve always thought that one of the things it would be fairly reasonable to have written on my headstone would be, He often missed the obvious I was saying to people at work the other day that there was a part of this book where I thought, god, how did I get to be 50 and never think of this before It was the bit where she talks about the holocaust and holocaust museums and then questions why America doesn t have a museum to the victims of slavery you know, those victims are still walking about a [...]


  2. Sometimes back I watched the movie The Bang Bang Club based upon the lives of a group of photojournalists who went by that name in Johannesburg in the mid 80s These photojournalists mostly clicked photographs of the victims of apartheid or of the violence perpetrated by clashes between different black ethnic groups in South Africa The movie also focused on the distress which these journalists went through after or while clicking the photographs One of the journalists of the club, Kevin Carter pl [...]


  3. Reducing The Pain of The OtherSusan Sontag 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 the Nazi death camps, to contemporary horrific images of Bosnia, Sierra Leone, Rwanda, Israel and Palestine, and New York City on September 11, 2001.Sontag attacks the modern obsession with photography, with documenting everything She looks at all the arguments on why photography might help [...]


  4. This is the second volume by Sontag on photography, and it is in many ways a continuation of the investigations of the first book.Sontag takes as her starting point an essay by Virginia Woolf in her collection Three Guineas, and Woolf s rejection of the assumption that all feel the same way about war Woolf rejects war entirely, as she has neither the power to make it, nor can she understand the reasoning behind it This is the point which Sontag discusses in her own work In On Photography she des [...]







  5. Sontag s essay is concerned with the moral implications of looking, through photographs, at people who are suffering or dead Much of the book is a history of war photography, which is intimately bound with the history of public tolerance of violent photos While Sontag does not provide any revolutionary ideas, the essay is a succinct and thorough examination of the issues surrounding photography And, if there is no grand thesis to keep in mind, her exploration is full of smaller, thought provokin [...]


  6. Sontag opens here with a critique of Virginia Woolf s comments on photographs from war in Three Guineas While Woolf begins by making a feminist distinction between her perspective from that of a real or imagined male lawyer, she enters a we with him in the face of the photographs photographs of the victims of war, Sontag writes create the illusion of consensus Sontag s aim here is to re problematise the we Woolf accepts, as well as to restore what is lost in the limited reading she makes to read [...]



  7. Ao longo desta leitura fotos de Capa, Khaldei, Rosenthal, Seymour, Strock, McCullin, Salgado, Nachtwey, entre outros s o arrancadas nossa mem ria e como se percorr ssemos uma vasta e sombria galeria de uma exposi o de Fotografia Sontag faz zoom ao fotojornalismo de guerra e atrav s de diferentes ngulos e perspectivas reflete sobre o poder, a banaliza o, o realismo ou a encena o das imagens Serve se de diversos conflitos desde a Guerra Civil Americana at Guerra do Iraque N s, no nosso pior retrat [...]


  8. A common criticism of Sontag s writings as noted in other reviews is that they re not discerning enough and frequently pose What or How instead of being decisive and affirming I actually believe this is a strength utilized in her essays Many of the ideas aren t fully developed or entirely convincing, but that can be useful for reflection and stimulate discussion I always find myself thinking about her points than I do with other writers Sontag mainly speaks about photography and asks a lot abou [...]










  9. I ve been thinking along these lines for some time now Probably we all have A lot of these ideas are not new But it s nice to see them explored, thought over despite having been thought over already Sontag does not give us easy answers, because the act of looking at other people s pain is uncomfortable, and probably should always be uncomfortable No amount of essaying about it should take that uncomfortableness away However, while words will often cause us to think, photos of war and violence wi [...]


  10. The book is disappointingly diffuse and lacking in incisiveness This probably reflects Sontag s ambivalence about how she is supposed to react to images of death and destruction But such ambivalence doesn t make for compelling reading, especially since the themes which she explores e.g the suspicious claim to objectivity of photography, voyeurism complicity masquerading as disinterestedness in the viewer will be familiar to anybody who has reflected on the subject So perhaps its value lies in be [...]





  11. Opening lines In June 1938 Virginia Woolf published Three Guineas, her brave, unwelcomed reflections on the roots of war.


  12. One of the great theorists of the erotic, Georges Bataille, kept a photograph taken in China in 1910 of a prisoner undergoing the death of a hundred cuts on his desk, where he could look at it every day Since becoming legendary, it is reproduced in the last of Bataille s books published during his lifetime, in 1961, Les Armes d Eros The Tears of Eros This photograph, Bataille wrote, had a decisive role in my life I have never stopped being obsessed by this image of pain, at the same time ecstati [...]


  13. We want the photographer to be a spy in the house of love and of death, and those being photographed to be unaware of the cameraone can gaze at these faces for a long time and not come to the end of the mysteryThe real thing may not be fearsome enough, and therefore needs to be enhanced or reenacted convincinglythereby refining the irrepressible identification of the camera and the gun, shooting a subject and shooting a human being War making and picture taking are congruent activities that lab [...]


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