Spectral Evidence : The Photography of Trauma by Ulrich Baer (2005, Perfect)

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Book jacket is in ok condition. Book interior is in good condition, but 1 page has a dog ear and two pages have erased pencil markings.

About this product

Product Identifiers

PublisherMIT Press
ISBN-100262524473
ISBN-139780262524476
eBay Product ID (ePID)46607377

Product Key Features

Book TitleSpectral Evidence : the Photography of Trauma
Number of Pages216 Pages
LanguageEnglish
TopicCriticism
Publication Year2005
IllustratorYes
GenrePhotography
AuthorUlrich Baer
FormatPerfect

Dimensions

Item Height0.5 in
Item Weight15.5 Oz
Item Length9 in
Item Width7.2 in

Additional Product Features

Intended AudienceTrade
Dewey Edition21
Reviews"Baer seeks to usurp our common understanding of the photograph with a richly informed and persuasive discourse." - Robert Pepperell, Leonardo, "Baer seeks to usurp our common understanding of the photograph with a richly informed and persuasive discourse." Robert Pepperell Leonardo, Baer seeks to usurp our common understanding of the photograph with a richly informed and persuasive discourse., "Baer seeks to usurp our common understanding of the photograph with a richlyinformed and persuasive discourse." Robert Pepperell Leonardo
Grade FromCollege Graduate Student
Dewey Decimal770/.1
SynopsisIn 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., 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., 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., An original analysis of the parallels between the arrested moment in photography and in the traumatized psyche.
LC Classification NumberTR817
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