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Ethics and Images of Pain PDF

263 Pages·2012·2.63 MB·English
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Ethics and Images of Pain Routledge Advances in Art and Visual Studies 1 Ethics and Images of Pain Edited by Asbjørn Grønstad and Henrik Gustafsson Ethics and Images of Pain Edited by Asbjørn Grønstad and Henrik Gustafsson NEW YORK LONDON First published 2012 by Routledge 711 Third Avenue, New York, NY 10017 Simultaneously published in the UK by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN Routledge is an imprint of the Taylor & Francis Group, an informa business © 2012 Taylor & Francis The right of Asbjørn Grønstad and Henrik Gustafsson to be identified as the authors of the editorial material, and of the authors for their individual chapters, has been asserted in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Trademark Notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. Library of Congress Cataloging-in-Publication Data Ethics and images of pain / edited by Asbjørn Grønstad and Henrik Gustafsson. p. cm. — (Routledge advances in art and visual studies ; 1) Includes bibliographical references and index. 1. Pain in art. 2. Pain in the performing arts. 3. Pain in mass media. 4. Art—Moral and ethical aspects. 5. Performing arts—Moral and ethical aspects. 6. Mass media—Moral and ethical aspects. I. Grønstad, Asbjørn. II. Gustafsson, Henrik. NX650.P32E85 2012 700'.453—dc23 2011040174 ISBN13: 978-0-415-89382-4 (hbk) ISBN13: 978-0-203-12590-8 (ebk) Typeset in Sabon by IBT Global. Contents List of Figures vii Acknowledgments ix Preface xi J.M. BERNSTEIN Introduction xv ASBJØRN GRØNSTAD AND HENRIK GUSTAFSSON PART I From Voyeurism to Visual Politics 1 Do Not Look at Y/Our Own Peril: Voyeurism as Ethical Necessity, or To See as a Child Again 3 MARK LEDBETTER 2 Associates in Crime and Guilt 15 FRANK MÖLLER 3 Painful Photographs: From the Ethics of Spectatorship to Visual Politics 33 MARK REINHARDT PART II Looking In, Looking Away 4 The Violence of the Documentary Image: Errol Morris’s Standard Operating Procedure 59 STEFANO ODORICO vi Contents 5 Visual Irruptions, Mediated Suff ering, and the Robert Dziekanski Tragedy: An Inquiry into the Effi cacy of the Image 74 TARA H. MILBRANDT 6 Tuning Out, Turning In, and Walking Off : The Film Spectator in Pain 93 MATTIAS FREY PART III Performances 7 Imaging Pain 115 MIEKE BAL 8 The Unsettling Moment: On Mathilde ter Heijne’s Suicide Trilogy 144 ØYVIND VÅGNES 9 Gulag Follies 159 JODY MCAULIFFE PART IV Mimetic and Mnemonic Frames 10 Imag(in)ing Painful Pasts: Mimetic and Poetic Style in War Films 173 HOLGER PÖTZSCH 11 The Sanctifi ed Fallen: The War Film as Witness 193 TONJE H. SØRENSEN 12 Medical Horror: Visual Documents From the History of Lobotomy 208 JON-OVE STEIHAUG Contributers 225 Index 231 Figures 1.1 The photograph was taken for Life Magazine by Henry Groskinsky. 6 3.1 Scenes and Types. Moorish bust. 37 3.2 Ken Gonzales-Day, The Wonder Gaze (Saint James Park). 40 3.3 Lawrence Beitler, Marion Lynching. 42 4.1 Interrotron Hybrid. 64 7.1 Plegaria Muda, one sculpture. 117 7.2 Plegaria Muda, view of the installation. 117 7.3 Plegaria Muda, detail of grass between planks (extreme close up). 120 7.4 A Long History of Madness, Herlat silent (fi lm still). 124 7.5 A Long History of Madness, Françoise listening (fi lm still). 124 7.6 A Long History of Madness, Gelsomina on dry earth in Finland (fi lm still).  126 7.7 A Long History of Madness, smoke fi eld in Spain (fi lm still). 127 7.8 A Long History of Madness, Antonin in the courtyard with La Boétie (fi lm still). 128 7.9 A Long History of Madness, Antonin in the hospital (fi lm still). 128 7.10 A Long History of Madness, Artaud in monk suit (fi lm still). 129 8.1 Mathilde, Mathilde. 147 8.2 Small Things End, Great Things Endure. 154 9.1 Gulag Follies. 160 9.2 Gulag Follies. 161 9.3 Gulag Follies. 163 9.4 Gulag Follies. 164 9.5 Gulag Follies. 168 10.1 Sulamith (1983) by Anselm Kiefer. 174 viii Figures 10.2 Black Hawk Down—Stylized pains to soldier’s bodies. 180 10.3 Battle for Haditha—Prosthetic documentation or double injury? 182 10.4 Waltz With Bashir—Past pains between memory, trauma, and nightmarish vision. 185 10.5 The Other Bank—The face of Tedo. 187 12.1 Plate 1. Bendik Riis, Wiwisexsjon, 1957. 210 12.2 Plate 2. Patient with implanted electrodes. 211 12.3 Plate 3. Bendik Riis, CASTRAKTION, c. 1957. 213 12.4 Plate 4. The patient in narcosis before the operation. 220 Acknowledgments The editors would like to acknowledge their gratitude to a number of peo- ple and institutions for their indispensable support in the development of this project. In the summer of 2009 the Nomadikon Center of Visual Cul- ture at the University of Bergen hosted the Second Nomadikon Meeting “Images of Pain/Painful Images,” which brought together a highly diverse and interdisciplinary group of international scholars to discuss one of con- temporary visual culture’s most taxing areas of scholarship. The present book, while not the proceedings of that conference, has emerged out of the conversations that were started then. We would like to extend our warmest thanks to all who contributed in making that event so successful, as well as to conference co-organizers Øyvind Vågnes, Tonje Haugland Sørensen and Gjartrud Kolås. We would furthermore like to thank the Bergen Research Foundation and the Faculty of Social Sciences, whose extraordinarily generous research grant made the foundation of the Nomadikon Center in 2008 possible. Our colleagues at the Department of Information Sci- ence and Media Studies also deserve thanks for their participation in and encouragement of the Nomadikon project. We owe a debt of gratitude to the anonymous readers of our original book proposal for Ethics and Images of Pain, who provided incisive criti- cism that proved valuable in the conception and gestation of this book. Finally, we would like to off er our sincere thanks to Erica Wetter and Felisa Salvago-Keyes at Routledge for the instrumental parts they have played in facilitating this publication.

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