附註:Includes bibliographical references and index.
Machine generated contents note: Introduction: Toward a Democritean Gaze 1 1 Photography and Hysteria: Toward a Poetics of the Flash 25 2 To Give Memory a Place: Contemporary Holocaust Photography and -- the Landscape Tradition 61 3 Meyer Levin's In Search/Mikael Levin's WarStory: -- Secondary Witnessing and the Holocaust 87 4 Revision, Animation, Rescue: Color Photographs from the t6dz -- Ghetto and Dariusz Jablonski's Holocaust Documentary Fotoamator 127 Conclusion 179 Notes 183 Index 207.
摘要:An original analysis of the parallels between the arrested moment in photography and in the traumatized psyche. In this remarkable contribution to photographic criticism and psychoanalytic literature, Ulrich Baer traces the hitherto overlooked connection between the experience of trauma and the photographic image. Instead of treating trauma as a photographic "theme," Baer examines the striking parallel between those moments arrested mechanically by photography and those arrested experientially by the traumatized psyche--moments that bypass normal cognition and memory. Taking as points of departure Charcot's images of hysteria and Freud's suggestion that the unconscious is structured like a camera, Baer shows how the invention of photography and the emergence of the modern category of "trauma" intersect. Drawing on recent work in the field of trauma studies, he shows how experiences that are inherently split between their occurrence and their remembrance might register in and as photographic images. In light of contemporary discussions of recovered memories and the limits of representing such catastrophes as the Holocaust, Baer examines photographs of artistic, medical, and historical subjects from the perspective of witnessing rather than merely viewing. He shows how historicist approaches to photography paradoxically overlook precisely those cataclysmic experiences that define our age. The photograph's apparent immunity to time is seen as a call for a future response--a response that is prompted by the ghostly afterlife of every photograph's subject. In a moving discussion of a rare collection of color slides taken by a Nazi official in the Lodz ghetto, Baer makes us aware that it is the viewer's responsibility to account for the spectral evidence embedded in every image.
