; These photojournalists mostly clicked photographs of the victims of apartheid or of the violence perpetrated by clashes between different black ethnic groups in South Africa. this is such a fantastic, powerful essay that it truly is a pity how it suffers from (a) a very diffused telling, so much so that the chapter categorizations seem rushed through, and (b) the lack of visual?? Book Review “Regarding The Pain of Others” by Susan Sontag. For most, the image is simply unbearable: the already armless sacrificial victim of several busy knives, in the terminal stage of being flayed—a photograph, not a painting; a real Marsyas, not a mythic one—and still alive in the picture, with a look on his upturned face as ecstatic as that of any Italian Renaissance Saint Sebastian. This is Susan Sontag's second book on photography and, like the first, published in … Trouble signing in? Sontag's second book on photography, and like the first back in 1977 this contains zero photographs. © Copyright 2020 Kirkus Media LLC. To an Israeli Jew, a photograph of a Drawing attention to how photography is always both art and testimony, Sontag convincingly deconstructs the idea that a photo of pain by itself can reveal anything universal or self evident about … Learn from 11,117 book reviews of Regarding the Pain of Others, by Susan Sontag. An examination of images of war and how those that view these images react to them. Words are Sontag's antidote to strong images, she is only really concerned with photography's prurient intrusiveness, there dislocation of reality, actual photographs are of less interest to her, and are mentioned, in stern verbal paraphrase, only to be reproved for their untrustworthiness. What is the purpose of images of pain and suffering? If one feels that there is nothing 'we' can do -- but who is that 'we'? Ta-Nehisi Coates. (Edited highlights of the panel's review taken from the teletext subtitles that are generated live for Newsnight Review.) And they are right.". 9 Reviews. but it was so repetitive you could literally summarize every chapter in one page maximum. Somewhere at the bottom of my mind I was kind of hoping it would. Regarding the Pain of Others is Susan Sontag's searing analysis of our numbed response to images of horror. The movie also focused on the distress which these journalists went through after or while clicking the photographs. 'A coruscating sermon on how we picture suffering' The New York Times. “I am marked by old codes, which shielded me in one world and then chained me in the next.” Coates grew up in the tough neighborhood of West Baltimore, beaten into obedience by his father. 3.5 ⭐️ Sontag engages in some interesting intellectual exercises here as she considers our relationship with images of human suffering. I also hoped for discussion of the popularity of. Sontag reviews and explores this old question, and her answer, though without doubt the right one—“Let the atrocious images haunt us”—leads her to unexpected banalities (“There is simply too much injustice in the world”) and an unfocused ending that all but randomly touches on great matters—whether the mass media create passivity, for example—and just as inexplicably glances away from them (“But it’s probably not true that people are responding less”), leaving the greatest question—whether there is any “way to guarantee contemplative . Watch the whole programme TIM MARLOW: Peter Hitchens, you are a journalist who's spent some time looking at this kind of issue and putting yourself on the front line. As objects of contemplation, images of the atrocious can answer to several different needs. A review here will not do it justice. Can there be any real justification for the creation, and consumption, of such images? But such ambivalence doesn't make for compelling reading, especially since the themes which she explores (e.g., the suspicious claim to objectivity of photography, voyeurism/complicity masquerading as disinterestedness in the viewer) will be familiar to anybody who has reflected on the subject. To make oneself more numb. Her remarks on the way a photo replaces the memory of the thing itself are, if not surprising, good to have restated. Susan Sontag One of the journalists of the club, Kevin Cart. Regarding the Pain of Others is an interesting, detailed explication of a subject Sontag touched on in her previous work, On Photography, but one that she felt needed some further explanation: the use of war photography as a medium by which the public might be awakened to the horrifying reality of … Reviewed by Indiana. ETHNICITY & RACE, by For years I'd been under the impression this wasn't simply about war photography, instead that it was a work on the whole title topic that used war photography as a starting point. In fact, the word “woke” appears nowhere within its pages. This is one of those that I’m tempted to “review” by just quoting the whole damn book: Sometimes back I watched the movie “The Bang-Bang Club” based upon the lives of a group of photojournalists who went by that name in Johannesburg in the mid 80s. Regarding the Pain of Others Susan Sontag has presented us with a challenge. Much of the book is a history of war photography, which is intimately bound with the history of public tolerance of violent photos. Reviewed in Canada on October 18, 2009. Regarding the Pain of Others. Title notwithstanding, this latest from the National Book Award–winning author is no guidebook to getting woke. Sontag is brilliant. [Regarding] The Pain of Others. Susan Sontag writes about war photography and its effects on people, how they handle it etc. The picture was clicked at such an angle that it seemed that the vulture was waiting for a chance to pounce upon the poor child. POLITICS | 5.0 out of 5 stars Regarding the Pain of Others. Magazine Subscribers (How to Find Your Reader Number). ETHNICITY & RACE, by And, if there is no grand thesis to keep in mind, her exploration is full of smaller, thought-provo. .the performance is thrilling to witness.” While Sontag does not provide any revolutionary ideas, the essay is a succinct and thorough examination of the issues surrounding photography. Each chapter examines one facet of racism, the authorial camera alternately zooming in on an episode from Kendi’s life that exemplifies it—e.g., as a teen, he wore light-colored contact lenses, wanting “to be Black but…not…to look Black”—and then panning to the history that informs it (the antebellum hierarchy that valued light skin over dark). 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