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Binding: Hardcover
Format: Bargain Price
Label: Farrar, Straus and Giroux
Manufacturer: Farrar, Straus and Giroux
Number Of Items: 1
Number Of Pages: 144
Publication Date: February 19, 2002
Publisher: Farrar, Straus and Giroux
Sales Rank: 607884
Studio: Farrar, Straus and Giroux
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Editorial Review:
Product Description:
A brilliant, clear-eyed new consideration of the visual representation of violence in our culture--its ubiquity, meanings, and effects
Watching the evening news offers constant evidence of atrocity--a daily commonplace in our "society of spectacle." But are viewers inured -or incited--to violence by the daily depiction of cruelty and horror? Is the viewer's perception of reality eroded by the universal availability of imagery intended to shock?
In her first full-scale investigation of the role of imagery in our culture since her now-classic book On Photography defined the terms of the debate twenty-five years ago, Susan Sontag cuts through circular arguments about how pictures can inspire dissent or foster violence as she takes a fresh look at the representation of atrocity--from Goya's The Disasters of War to photographs of the American Civil War, lynchings of blacks in the South, and Dachau and Auschwitz to contemporary horrific images of Bosnia, Sierra Leone, Rwanda, and New York City on September 11, 2001.
As John Berger wrote when On Photography was first published, "All future discussions or analysis of the role of photography in the affluent mass-media societies is now bound to begin with her book." Sontag's new book, a startling reappraisal of the intersection of "information", "news," "art," and politics in the contemporary depiction of war and disaster, will be equally essential. It will forever alter our thinking about the uses and meanings of images in our world.
Average Rating: 
Rating: -
In her On Photography, which appeared 35 years ago, Susan Sontag worried that the public's continuous exposure to horrific photos of the violence of war might backfire. The purpose (or at least one of the purposes) of such photos is to rouse opposition to the cruelty of war. But the continuous publication of them can surfeit and benumb, encouraging instead public passivity.
In her Regarding the Pain of Others, Sontag rethinks this claim (even though it's now become received wisdom), ... Read More
Rating:  -
Surely Susan Sontag addresses the pain of others and how to deal with it, but her book goes deeply against all war, and as such, should have been read by George W. Bush before he started the Iraq war. She shows a great deal of sensitivity to what pain is caused by war, and how senseless it is. This is one of her books that makes me regret that she never received the Nobel Prize for Literature. Fortunately, she received a number of other literary prizes she nobly deserved, such as the Peace Prize of ... Read More
Rating: -
Susan Sontag only passed away recently. She was more of a philosopher, social activist, literary critic, and essayist than a fictional writer. In this book, she points out British writer Virginia Woolfe's view of war in today's society. War is a crime and an outrage where ever it might be whether it's in the boardroom, Wall Street, Sarajevo, Kabul, Baghdad, etc. War comes in many shapes and forms but what does war really mean to us. Is it about killing human lives or what about the destruction of the ... Read More
Rating: -
Sontag's essay is concerned with the moral implications of looking, through photographs, at people who are suffering or dead. Much of the book is a history of war photography, which is intimately bound with the history of public tolerance of violent photos. While Sontag does not provide any revolutionary ideas, the essay is a succinct and thorough examination of the issues surrounding photography. And, if there is no grand thesis to keep in mind, her exploration is full of smaller, thought-provoking observations. ... Read More
Rating: -
Sontag questions her ideas that have influenced half a centary. She is not alone Terry Eagleton (After Theory), Elain Showalter, Sandra Gilbert, and even Derrida (life.after theory) have done the same
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