Andermann on Photography, Slide 1

Of course, the use of the camera as discussed here and in New or Third Cinema would be good material for my film class.

The chapter is called “Disappearing Acts” and this, once again, resonates with my book concept which I now think should cover just Isaacs to Freyre.

Page 188: “The violence in which these photographs have their origin is simultaneously denied and invoked.”

SHOCKING and AMAZING: there is my idea, evoke-and-elide. I have to start at the beginning, with María, and with this perception. A sentence like, “In María, these things happens. These other questions are thus raised. That leads to the following. This book is concerned with the simultaneous evocation and elision…” and so on. That italicized sentence feels like the first sentence.

Page 188: This series of photographs seems to be moving towards a moment of origin that organizes its meaning, yet which must in itself remain in the future of the image, beyond the desert’s empty horizon, precisely because it is already its past. The violence of the origin is absence from the image because it has to have already occurred for there to be an image. Yet the album’s sequential organization, moving towards its absent original scene, also converts this absence into a potential future.

This is like primitive accumulation, which has to be forgotten or half forgotten for ideology to work, I claim, and for other reasons. Violence (189) is he irreducible supplement, the excess that spills over, into the analysis of its economic function as the original object of exchange.

“What we will be looking for in the images of the other’s violated body on the margins of the state is a foundational moment of representation itself, [that] can only be grasped in deferral.”

“Like the mimicry of colonial discourse, [these photographs] of state capture can only generate a partial presence, both constituted and undermined in metonymic displacement. Its visibility is therefore ‘always produced at the site of interdiction'” (flickering, memories you want to have and also don’t want, now you see it and now you don’t).

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One Response to Andermann on Photography, Slide 1

  1. Pingback: Mariano Picón Salas | coldhearted scientist وداد

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