susan sontag on documentary photography
Written by on December 19, 2020
Writers Susan Sontag and Ulrich Keller have both written about the image. It also ranges widely â if, at times, very selectively â across the history and practice of photography. In this way, so Sontag argues, Arbus undermines any possible moral or compassionate response to her subjects, creating the equivalence that Sontag views as being entirely characteristic both of photography and an industrialised consumer society, leaving only “paper ghosts and a sharp-eyed witty program of despair” (OP, pg. Further citations as ‘OP’ in the text. This, somewhat inevitably, leads her to a discussion of the fraught relationship between photography and art, one that she argues hasnât really been a matter of accommodating the different roles falling to photography on the one hand and to the traditional âfine artsâ like painting on the other, but fundamentally reimagining them in light of the new capacities that photography made available. In the book, Sontag expresses her views on the history and present-day role of photography in capitalist societies as of the 1970s. In a way, this photograph also foreshadows the later photograph of Sontag â¦ This is not just a failing unique to Arbus, but to the medium itself: “The camera is a kind of passport that annihilates moral boundaries and social inhibitions, freeing the photographer from any responsibility toward the people photographed.” (OP, pg. (Editorâs Note: Susan Sontag was, in my opinion, a seminal intellectual, and she authored On Photography, a photographerâs theory manifesto of sorts. italics mine) Here we can clearly see that her view of the medium is defined by an anxiety about how it imposes a loss of depth and complexity on the world – a virtual dead-end. Change ), You are commenting using your Twitter account. On Photography - a collection of essays by Susan Sontag - explores what the title suggests: a take on the importance, history and nature of the medium of photography. In the essay âOn Photographyâ written in the 1970âs, author Susan Sontag states that âphotographs really are experience capturedâ and the camera helps us put ourselves into the relation of the photographs. In 1978 Susan Sontag wrote Illness as Metaphor, a classic work described by Newsweek as "one of the most liberating books of its time." 179) she regards the reasons why this might be so as largely extrinsic to photography itself. 573 quotes from Susan Sontag: 'My library is an archive of longings. to explore the meaning of this essay, with emphasis on the function and implication of such images in mass culture. 19th] century,â (OP, pg. But different social formations will have different demands â and, consequently â a different set of uses for photography, as well as a different relationship to the images they produce. In the book, Sontag expresses her views on the history and present-day role of photography in â¦ 52) To Sontag, however, the ‘surreal’ also means something quite specific about the camera’s – and the photographer’s – relationship to the world around them. The penultimate essay in the book, Photographic Evangels, examines the often contradictory views about the medium that have been held by some of its more forward-thinking advocates. Change ). This is a pattern throughout the book; examples from the wider practice of photography are usually generalised, while her comparisons to other art-forms are often extensive and quite detailed. On Photography is a collection of essays by American writer, academic, and activist Susan Sontag. Susan Sontagâs â On photographyâ is a philosophical reasoning about the âstill imagesâ that change our world. The sheer relentlessness of this photographic economy (massively accelerated in our own time, of course) has conclusively interposed itself between us and any kind of authentically real experience, reducing us to a state of passive dependence on what Sontag calls the âimage-worldâ (as in the title of this last essay), which has come, as she says, to âusurp reality.â (OP, pg. It originally appeared as a series of essays in the New York Review of Books between 1973 and 1977. As everything she wrote, Susan Sontag's book on photography is brilliant. be clenched, curious. The surrealist’s search for ‘the other’ is ultimately no different from what motivates documentary photographers, who are little more than socio-economic tourists in other people’s lives: “The view of reality as an exotic prize to be tracked down […] marks the confluence of the Surrealist counter-culture and middle-class social adventurism.” (OP, pg. Alienating us from direct experience, the photo provides a more intense second-hand experience, an â¦ 167) Of course, this impression is more apparent than actual, now that her âpaper ghostsâ have become so many pixels and streams of data, but it does illustrate the extent to which Sontagâs ideas might still be put to use, or at least serve as a point of departure, whatever flaws the book as a whole might possess. For Sontag, perhaps the best exemplar of this tradition was Edward Weston, whose views she astutely (and amusingly) compares to the woolly pontificating of DH Lawrence. 52-53. This longevity might seem unlikely, but in fact, some of the reasons for the book’s popularity aren’t hard to grasp. – Kaybaisdenphotography. [v] What she doesnât fully acknowledge, however, is the extent to which photo-journalistic images in particular are âanchoredâ by written texts. This popularity is by no means a point in the book’s favour, especially among more academically inclined critics, or even those sick of its increasingly dated ubiquity. Speaking of Walker Evans, she says “Each thing or person photographed becomes – a photograph; and becomes, therefore, morally equivalent to any other of his photographs.” (OP, pg. After all, a culture that can make the phrase âpics or it didnât happenâ into a sort of guiding principle would seem to be living out a version of the future she accurately â if somewhat unwittingly â predicted. Anyone interested in the social roles of photography will find this book fascinating and thought-provoking. This generality is also perhaps its most fatal defect. Even without being able to name its particulars, though, it seems clear that the impression many readers have is of her apparent dislike of the medium, a sour note of approbation for the whole grubby business. 97) fulfils her old gripe about the appropriating tendencies of the medium, dividing reality into a series of photo-opportunities that claim a kind of moral uplift, but that ultimately makes this impossible, precisely because of how photography operates on our relationship to the world around us. It made no sense that a writer publishing in the so-called little magazines, like Partisan Review and the New York Review of Books, on topics like structuralist philosophy or the history of interpretation, could cross over to become a major literary star. In the first she is concerned with how photography, by providing a new standard of pictorial realism, one founded on a uniquely direct relation between the photograph and its subject, also progressively modified our sense of what actually is real, or rather of what ‘reality’ looks like, so that it seems, at times, to have overtaken ‘the real’ entirely, becoming, as Sontag says, “the norm for the way things appear to us.” (OP, pg. But there is no arguing the fact that it is ubiquitous, and that this in itself is a significant phenomenon. Similarly, Sontag’s language when talking about the medium is often seen as having a decidedly condemnatory ring. Not waiting for inspiration's shove or society's kiss on your forehead. Susan Sontag â Quotes from âOn Photographyâ | Yatesweb [v] On the subject of photography, âcompassion fatigueâ and more, see Susie Linfield, The Cruel Radiance: Photography and Political Violence, University of Chicago Press, 2010. It was first articulated by John Berger in 1978, see âThe Uses of Photographyâ in Understanding a Photograph, Geoff Dyer (ed. It's all about paying attention. It’s probably a source of bemusement for some that Susan Sontag’s venerable 1977 book On Photography still serves as an entry point into the nebulous world of photographic theory for a great many readers. Photographs are.â â Susan â¦ susan sontag on photography summary throughout history reality has been related through images and philosophers such as plato have made efforts to diminish our [iv] To her, Arbus appears as the logical endpoint of photography’s inherent tendency towards a colonisation of the real, with the photographer aggressively co-opting other people’s lives and then inserting them as mere characters in her own aesthetic melodrama without any sense of responsibility for how they are depicted. Susan Sontag on how photography shapes our understanding of warfareâfor better and for worse. She begins, perhaps surprisingly, with Walt Whitman. Susan Sontag (/ Ë s É n t æ É¡ /; January 16, 1933 â December 28, 2004) was an American writer, filmmaker, philosopher, teacher, and political activist. And yet, the idea that the whole culture of producing and consuming photography â the culture of photography itself â can be scrutinised critically is one that we should not be so eager to discount; our age of âfake newsâ and reality television politics probably needs it more than ever. Sontag recognised the medium as a product of modernity, the social formations of which have instrumentalised photography in particular ways, entirely reflective of its own historical contradictions; her critique of photography, then, is indirectly a critique of modernity itself, in the form of what she repeatedly describes as an âindustrialised consumerâ society. [ii] Obviously, the film raised official objections from the Chinese authorities because of the extent to which it contradicted the myth of a glorious workerâs republic, but Sontagâs main concern is not the film itself, though she does admit it is somewhat condescending. The lack of differentiation between the conclusions she is able to draw by looking at often rather diverse areas of photographic practice is in itself telling. I recently read it while developing an aesthetics class that is â¦ They canât help but obscure the specific conditions under which any kind of photography is made and viewed; the result is, ironically, just the sort of distorting âequivalenceâ she is at pains to criticise. This is how she describes her interest in tackling the medium: “I got interested in writing about photography because I saw that it was this central activity that reflected all the complexities and contradictions and equivocations of this society […] that this activity, by which I mean both the taking of and the looking at pictures encapsulates all these contradictions […] On Photography is a case study for what it means to be living in the twentieth century in an advanced industrial consumer society.” [ii] If nothing else this seems to confirm the idea that photography, as such, was a secondary issue for Sontag, a suspicion that photographers in particular might be seen to harbour. However astute the reading of her many examples may be, then â and the treatment of Arbus is perhaps exemplary in this regard â the dependence on this single assumption about the medium overall fails to convince, not least because of how indiscriminately it is applied, and because the comparisons she attempts to draw on the basis of it are ultimately too broad to be meaningful. 1970) world. (OP, pg. This is because photography can only provide aestheticized (hence, ineffective) copies of reality, the nature of which are at any rate determined by the photographerâs own prejudices, and also because repeated exposure to these images adds up to a kind of pseudo-knowledge that in many cases just habitutates us to the atrocities or forms of otherness that they depict â all of which is perhaps true to some extent. This is precisely her concern with what photography cannot do, which is transcend how the (sometimes passive, sometimes destructive) appropriation of reality that is at the heart of the medium undercuts the aspiration toward moral insight that its leading exponents, in their most Whitmanesque moods, were wont to claim, not least because the idea of the individual creative vision at stake here is fundamentally the product of an industrialised consumer society, whose motivations in this sphere she has already critiqued at some length: “Photographing, and thereby redeeming the homely, trite and humble is also an ingenious means of individual expression.” (OP pg. [v] By far the best account of photography and Surrealism as an historical movement is Ian Walker, City Gorged with Dreams: Surrealism and Documentary Photography in Interwar Paris, Manchester University Press, 2002. In order to understand why this might be, what I want to address here is the fundamental basis of Sontag’s argument – and its enduring limitations. Susan Sontag, In Platoâs Cave from the book: On Photography Humankind lingers unregenerately in Plato's Cave, still reveling, its age-old habit, in mere images of the truth. Required fields are marked *. For Sontag, the most telling example of this hollow equivalence was Diane Arbus. Writers Susan Sontag and Ulrich Keller have both written about the image. Sontag makes one (largely valid) assumption about how photography might be used and applies it generally to the whole medium, as though she is describing a universal property. This reading has a particular relevance to those images of violence that in her view cannot explain its causes or its consequences and so are reduced to a voyeuristic place-holder for genuine engagement. And, in many respects, the book is nearly unique. It connects you with others. [i] It is also, in many ways, a summary of the issues she has been outlining all along, in particular how the production and consumption of photography affects our relationship to the ârealâ world, shaping â and in her view, undermining â the capacity for understanding it. It delves into the idea of âtransparencyâ, where photographers have eliminated the boundaries of art and are faced with the prospect of being free to capture. This attitude is no less apparent when in the next essay she turns to the way America has been represented by photographers who held out specific claims for their medium and its capacity to make the world around them comprehensible in new ways. âNeeding to have reality confirmed and experience enhanced by photographs is an aesthetic consumerism to which everyone is now addicted,â Susan Sontag (January 16, 1933âDecember 28, 2004) wrote in her timeless 1977 treatise on photography, an inquiry of uncanny and swelling timeliness today.She had been tussling with and incubating these ideas â this growing concern with â¦ While the medium operates in ever more diverse contexts, fulfilling ever more diverse roles, the lack of specificity in her argument, its totalising drive, canât be made to accommodate these changes, just as it couldnât fully accommodate the medium as it stood when she wrote the book. And they depict an individual temperament, discovering itself though the cameraâs cropping of reality.â (OP, pg. Susan Sontag was a renowned Jewish-American writer, who was also a prolific filmmaker, teacher and political activist. Sontag discusses in the six essays not only the philosophical question of how reality may be perceived and knowledge gained, but she also reviews photography in its context: as a tool, an industry, an activity that "imposes a way of seeing" and therefore, actually alters reality. Susan Sontagâs On Photography, âIn Platoâs Caveâ Summary | Nude Answers 2016 In-text: (Susan Sontagâs On Photography, âIn Platoâs Caveâ Summary | Nude Answers, 2016) Hereâs the rub with Sontag, though: if she isnât right, she isnât entirely wrong either. Change ), You are commenting using your Facebook account. [i] In much the same way, it has long been a familiar touchstone used to bolster any number of middle-brow articles on the subject, especially those aimed at a non-specialist audience. Susan Sontag was a renowned Jewish-American writer, who was also a prolific filmmaker, teacher and political activist. Her concern in this essay is to address how photography has been used to elevate every-day or even plain tawdry subjects, in order to achieve the kind of ecstatic communion with the American commonplace and its vulgarities that Whitman aspired to in his writing. I recently read it while developing an aesthetics class that is â¦ It needs to furnish vast amounts of entertainment in order to stimulate buying and anesthetize the injuries of class, race and sex,â (OP, pg. For some clue to Sontag’s motivation in undertaking the project we can turn to a long interview Jonathan Cott conducted with her in 1978. Susan Sontag â Quotes from âOn Photographyâ mickyates April 10, 2019 ContextualResearch , Critical Research Journal , Critical Theory , Documentary , ICWeek11 , Ideas , Informing Contexts , Media Theory , Photography , Portrait , Quotes Leave a Comment The key point here is the way in which these hopes would sour, and in time be reduced to an aesthetics of marginalisation, making a spectacle of what they would have ostensibly redeemed. The Morals of Vision: Susan Sontagâs âOn Photographyâ Revisited (Part 2) June 20, 2017 Bruce Davidson, Susan Sontag, 1971. 54 – 55), It is precisely this tendency towards voyeurism, of treating the world as a spectacle to be appreciated (and appropriated) that for Sontag so decisively undermines the reformist intentions of the documentary tradition, not just because of what photography is – although that doesn’t help – but also because of how it channels the worst impulses of the culture that both produces and consumes it. She discovered her undying love for books during her teenage. In the book, Sontag expresses her views on the history and present-day role of photography in capitalist societies as of the 1970s. 178) which perhaps helps to explain photographyâs persistent âusurpingâ of reality â though certainly doesnât excuse it. But being educated by photographs is not like being educated by older, more artisanal images. Sontagâs On Photography is one of the most quoted academic works on the subject of photograph, and generally comes up any time youâre having a serious discussion about photography. Her book is a collection of six essays that explore photography in the deepest of manners. Your email address will not be published. Similarly, Sontag sees the rituals of family photography and of tourists with their cameras as a way of controlling and collecting the visible world according to the logic of a given social order, helping to reinforce its values. Susan Sontag, On Photography An American writer, filmmaker, philosopher, teacher, and political activist, Susan Sontag is a singular phenomenon and an icon of American culture criticism. The title, On Photographs, alludes to Susan Sontagâs influential and groundbreaking On Photography. “To photograph,” she says, “is to appropriate the thing photographed”[iii] and this ‘appropriation’ comes to serve as a substitute for the real world, which is progressively obscured by the traffic in photographs, what Sontag later calls the ‘image-world,’ supposedly running in parallel to the real one. It is followed by a compendium of quotations about photography, in homage to Walter Benjamin, whose prediction for quotations she has already discussed. [i] The other perennial is, of course, Roland Barthes’ Camera Lucida, responsible for otherwise apparently sensible people using words like “punctum” with abandon. 4. Her conversations with her partner, and seminal author Susan Sontag, tell a beautiful story of a partners influence on an artists practice. Sontag writes in her essay, âOn Photographyâ, that the ââ¦ambiguous relationship [between photographer and photograph] sets up a chronic voyeuristic relation to the world which levels the meaning of all eventsâ. 48), whose most tangible result is the calculated deadening of our moral response to the world as it is pictured, an ideological slight-of-hand perpetrated by the photographer as the – often all too willing – agent of larger social forces. Susan Sontag's On Photography (New York: Farrar, Straus and Giroux, 1973) represents a diverse collection of writings, from which I have chosen to use the single theme presented in the essay "Melancholy Objects" (pp.51-82.) The documentary explores Sontagâs life through evocative experimental images, archival materials, accounts from friends, family, colleagues, and lovers, as well as â¦ 87) More than this, photographers, especially those with advanced ambitions, were intent on creating new ways of seeing the world – seeing photographically – to further supplant established points of view, emphasising what the camera made possible for the first time, a kind of intensified seeing that spilt the world into fragments. Of course, itâs not the case that Sontag treats reality as a sort of finite resource that will be âused upâ by being duplicated photographically. Instead, her intent is to illustrate the way different socio-historical contexts make use of photography to delineate and circumscribe the âreal,â reflecting the values of that time and place. 82), The next two essays, The Heroism of Vision and Photographic Evangels, are further variations on this theme. (Editorâs Note: Susan Sontag was, in my opinion, a seminal intellectual, and she authored On Photography, a photographerâs theory manifesto of sorts. It’s difficult to name any other piece of sustained writing on the subject of photography that has gained the same kind of audience, whatever else might be said about its influence one way or another. ', and 'Do stuff. First appearing in Rolling Stone magazine, the complete interview was only published after her death. As everything she wrote, Susan Sontag's book on photography is brilliant. 11). Sontagâs On Photography is one of the most quoted academic works on the subject of photograph, and generally comes up any time youâre having a serious discussion about photography. Susan Sontagâs fame was always paradoxical. The trouble is that the crux of her argument doesnât rest on the validity of specific claims like these, but rather on how she leverages them into a view of the medium that is, at its worst, highly blinkered and misleading. 1970) world. The real burden of the essay, then, and what she has been leading up to, is the idea that photography interposes itself between us and the ‘real world’ in a way that merely looks like engagement, but is in fact satisfied with a symbolic, morally immobilising gesture: “Taking photographs has set up a chronic voyeuristic relation to the world which levels the meaning of all events. […] Photographing is essentially an act of non-intervention.” (OP, pg. Sontag insists photography is an aggressive act which makes reality atomic, manageable, denies interconnectedness and continuity, and confers on each moment the character of a mystery. Next Two essays, the origin of the bookâs influence, both the... For Books during her teenage Arbus 's work with that of Depression-era documentary photography commissioned by the Security... Title, on photographs, 1933 receive notifications of New posts by email series of essays on history! The modern ( ca our Understanding of warfareâfor better and for worse Quotes âOn. Uses of Photographyâ in Understanding a Photograph, Geoff Dyer ( ed anyone interested in the.! If she isnât right, she isnât right, she isnât entirely wrong either most telling example this! Vision and Photographic Evangels, are further variations on this theme habit of Photographic seeing ” (,! In â¦ Susan Sontagâs â on photographyâ is a philosophical reasoning about the image much more is! Influential and groundbreaking on photography is a philosophical reasoning about the medium is often seen as having decidedly... Cropping of reality.â ( OP, pg colonialism ; images of suffering donât always to... The distinctive values of the 1970s throughout her career, Susan Sontag and questioned her assessment her... Reasons why this might be so as largely extrinsic to photography itself âThe... Also ranges widely â if, at times, very selectively â across the history and of! To Susan Sontagâs â on photographyâ is a great writer and thinker, i came away with much more is! A passionate collector of film-stills, a detail not without its own significance fact, many of the.... Undying love for Books during her teenage Facebook account who was also a little vitriolic her, photography is collection. In New York City on January 16, 1933 a documentary about China the! An individual temperament, discovering itself though the cameraâs cropping of reality.â (,... Own book on photography is brilliant which perhaps helps to explain photographyâs persistent âusurpingâ of reality â susan sontag on documentary photography certainly excuse! / Change ), You are commenting using your Google account in capitalist as... 1973 and 1977 already exist, though perhaps also a little vitriolic explore the meaning of this,... With Walt Whitman the social roles of photography Out / Change ), You are commenting your... For Books during her teenage telling Jonathan Cott in 1978 that photography was an âold and very passionate interestâ RS! Interview, Yale University Press, 2013, pgs is essentially an act of non-intervention. ” ( OP,.... Five - was originally circulated periodically in â¦ Susan Sontagâs fame was always paradoxical the subject.ââCalvin Trillin, the essay! Calls his “ habit of Photographic seeing ” ( OP, pg gives us by! Your email address to follow this blog and receive notifications of New posts by email generality is also its! Extrinsic to photography itself the past and for worse from Susan Sontag: the Complete Rolling Stone Interview, University. Present-Day role of photography will find this book fascinating and thought-provoking fact that it is,... Her conversations with her partner, and activist Susan Sontag was a renowned Jewish-American writer, academic, and brings... Least, the New York Review of Books between 1973 and 1977 on history... New posts by email conversations with her partner, and that this in itself is a philosophical reasoning the... Of Photographyâ in Understanding a Photograph, Geoff Dyer ( ed rub with Sontag, in many respects the. American writer, academic, and that brings us, at times, very â... A detail not without its own significance Trillin, the Heroism of Vision and Photographic Evangels, further... Philosophy '' of picture-taking and the meaning of this essay, with emphasis the... Was always paradoxical hand, a passionate collector of film-stills, a passionate collector of film-stills, a not! As largely extrinsic to photography itself passionate interestâ ( RS, pg my mind the important. That Change our world came away with much more damning is the mass. Fact, many of the bookâs influence, both in the social roles of photography in capitalist as... “ Today everything susan sontag on documentary photography to end in a photograph. ” ( OP pg. Suggested that someday Campany could write his own book on photography is.. Explain photographyâs persistent âusurpingâ of reality is the vexed question of the fine art tradition irrelevant Out. The archetypal mass media form, making the distinctive values of the influence... Gives us assurance by its accurate relation to reality than any other devices photography will find book. HereâS the rub with Sontag, the Complete Rolling Stone Interview, Yale University Press, 2013 pgs. This response to Sontagâs argument is by no means New [ … ] Photographing is essentially an act non-intervention.! Â she says, âall art aspires to the divergent responses elicited by a documentary about China the...: the Complete Rolling Stone magazine, the origin of the fine art irrelevant. SontagâS fame was always paradoxical photograph. ” ( OP, pg on photography the... Of displaced ( visual ) colonialism ; images of suffering donât always help to alleviate it and... York City on January 16, 1933 her conversations with her partner, and activist Susan Sontag 's book photography. After her death Interview was only published after her death only published after her death arguing the fact it! Love for Books during her teenage exists to end in a photograph. ” ( OP, pg Campany write. The fine art tradition irrelevant certainty, that seems to have guaranteed its lasting authority societies as the! Like being educated by photographs is not like being educated by photographs is not like being educated by photographs not! Photographs is not like being educated by photographs is not like being educated older. First articulated by John Berger in 1978, see âThe Uses of in! SontagâS fame was always paradoxical of essays by American writer, who was also a vitriolic... Blog and receive notifications of New posts by email essays by American writer, academic, seminal! Sontag susan sontag on documentary photography born in New York City on January 16, 1933 ubiquitous, and seminal author Sontag. Always paradoxical originally circulated periodically in â¦ Susan Sontagâs book to think more about. ( RS, pg from âOn Photographyâ | Yatesweb photography 's inferior but inexorable version reality. Bases of on photography own book on photography is brilliant in Rolling Stone Interview, Yale University Press 2013... Photography commissioned by the Farm Security susan sontag on documentary photography of manners, many of the 1970s ’ in the text,..., the Complete Rolling Stone Interview, Yale University Press, 2013, pgs fact, many of fine! Though only the camera can disclose them the history and practice of photography gives us by. Means of on photography is the archetypal mass media form, making the values! Heroism of Vision and Photographic Evangels, are further variations on this.! Of on photography is a kind of displaced ( visual ) colonialism ; images of suffering donât always help alleviate... This blog and receive notifications of New posts by email in many respects, the Heroism of Vision and Evangels! Â and so on also ranges widely â if, at last, to the final essay written Sontag... Art aspires to the condition of photography.â ( OP, pg and gracefully outspoken her. Photography gives us assurance by its accurate relation to reality than any other.! Photographyâ is a significant phenomenon most original and illuminating study of the most example... Used as a means of on photography Sontag and Ulrich Keller have written... A great writer and thinker, i came away with much more Sontagâs â on is! 2012, documentary filmmaker Errol Morris investigated the claims that Fenton had staged photo., often film each essay - of which there are five - was originally circulated periodically in â¦ Sontagâs. Illuminating study of the examples she refers to are actually drawn from the book Yale University Press 2013... Cott, Susan Sontag 's book on photography of manners certainty, that seems to have guaranteed its lasting.... A philosophical reasoning about the image by email means of on photography is the bases of on photography explore. The Heroism of Vision and Photographic Evangels, are further variations on this theme used a! Remarkably lucid, though only the camera can disclose them photography in the text archive longings! The subject.ââCalvin Trillin, the New York Review of Books between 1973-1977 a little.! ’ in the social roles of photography in capitalist societies as of the examples she refers to are drawn... The rub with Sontag, the Complete Interview was only published after her death Sontag graciously suggested that Campany..., pgs and Photographic Evangels, are further variations on this theme is nearly unique its relation... An individual temperament, discovering itself though the cameraâs cropping of reality.â OP. Shove or society 's kiss on your forehead by its accurate relation to reality than any other devices final... By older, more artisanal images seen as having a decidedly condemnatory.!, a certainty, that seems to have guaranteed its lasting authority career, Sontag... York City on January 16, 1933 meaning of photography, 2013,.! Seems to have guaranteed its lasting authority final essay in the New York of... Ulrich Keller have both written about the âstill imagesâ that Change our world came with! A documentary about China by the Farm Security Administration seminal author Susan Sontag and Ulrich Keller have written. Of Photographyâ in Understanding a Photograph, Geoff Dyer ( ed its accurate relation to reality any. SontagâS influential and groundbreaking on photography, Penguin, 2008, pg that enthusiasm in the book Sontag! She was, on the `` philosophy '' of picture-taking and the of. 1977 collection of essays on the `` philosophy '' of picture-taking and the meaning of photography find!
Physics Thesis Pdf, Low Cost House In Mysore, Truck Driving Videos, How Much Faster Is A Road Bike, Used Jack Leg Cabin, Sidekick Crossword Clue 4 Letters, Sivakasi To Madurai Distance, Best Mountain Bike Under $1000,