![]() The camera or Kodak moment was used to in still our sense of family to create the images of what a family should be. Personal thoughts if we look at post war images that were published both stills and television to encourage women to return home to be the perfect housewife etc. Rather he sees the photograph in terms of ‘exchange value’ the price for which it cane sold or marketed, and implies that the mechanical nature of photography renders image making essentially industrial and irrefutably seated within he capitalist system. He also argues that photography creates nothing of use in terms of basic social utility. Hubert Damisch “argues that the camera is neither neutral nor impartial but was constructed to reproduce established image conventions. Introduction to section 2 of book also touches on this. To sumarise at the end Benjamins sentiment is that once art became so easily reproducible it lost its ritualistic purpose and began to be based on a political purpose. this gave riseto …… the idea of pure art, which not only denied any social function of art but also any categorising by subject matter. With the advent of the first truly revolutionary means of reproduction, photography, simultaneously with the rise of socialism, art sensed the approaching crisis which has become evident a century later. ” Secular cult of beauty developed during the Renaissance prevailing for three centuries, clearly showed that ritualistic basis in its decline and the first deep crisis which befell it. Original art works in the service of a ritual first the magical then the religious. Plurality of artwork, reproductions of masters, students for study purposes or mechanical reproductions for monetary gain. “Given that we have all shared the same cultural references, I think we will al finish in the same museum” BOL 71. We are being conditioned through imagery. Judging by the millions of selfies on FB all looking the same I believe we are far away from this change. Perhaps this is where photography needs to move forward to no longer accept this to make family albums that show all aspects of life and from different perspectives. There are the classic shots that you are expected to take. If you look through many family albums from births, birthdays, marriages etc you will see that we pose the same. Most of them taken from a very similar vantage point. Look at images by Pep Ventosa of famous landmarks whereby many tourist images of famous landmarks are placed over each other. ![]() ![]() Photography initially mimicked photography of the late 19th century and now we mimic earlier photography. We are conditioned in a way to take shots the mimic those taken in the past. The family in this case are her own however she chose as a child to represent her family as she thought they should be. I would like to tie this into my reading of Annette Kuhns writing who speaks of re creating her own family album. He has created a false family album, he states he does not remember much of his own childhood or has chosen not to and recreated images that could have been his own photo album. Reading about Christian Boltanski’s created albums. The photograph automatically puts us in history but it also turns us into an object.īarthes preferred the non professional candid photograph feeling it was more authentic as did Christian Boltanski see next Chapter. One item I took note of was Barthes comments on a photo turning you into an object. ![]() Liz Wells has supplied a quick summary which is interesting to read. Rolande Barthes Extracts from Camera Lucida.īy Now I have read Camer Lucida and we have touched on it any times while studying. I find that `I also return to each book when writing essays etc this helps me to find what I might need in the Future.Ĭhapter 1. I use it to note what I feel I may use when writing about certain photo projects or things I want to note in the future. This post contains my own notes it is not a review or a comprehensive summary of the Book.
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