The Surprising Detritus of Leisure: Encountering the Late Photography of War
The Surprising Detritus of Leisure: Encountering the Late Photography of War
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令人惊讶的休闲残骸：邂逅战争晚期的摄影
DOI：
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发表时间：
2011
期刊：
影响因子：
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通讯作者：
D. Lisle
中科院分区：
文献类型：
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作者：
D. Lisle
本文探讨了在冲突、暴力和暴行之后创作的晚期战争摄影，并提出了两个主张。首先，它认为，迟来，缺席，和毁灭中心的后期摄影的战争有能力麻烦的伦理观看关系，强调一个占主导地位的解释框架的战争同情。这些照片没有再现一种熟悉的逻辑，即仁慈的观众享有对外国风景和可怜的受害者的特权，而是突出了一种更加矛盾的观看关系，延长了观众与照片之间的相遇时刻。其次，本文通过《晚期摄影》中一个常见但未被审视的主题：休闲与战争的并置来探讨这种矛盾心理。关注西蒙诺福克和安格斯博尔顿的照片中的休闲设施的物质碎片（例如，弹痕酒店，毁坏的游泳池），本文认为，观众和这些图像中的鬼魂之间的团结的试探性形成构成了一种挑衅性的替代观看关系。
This paper explores the Late Photography of War created in the aftermath of conflict, violence, and atrocity and makes two claims. Firstly, it argues that the belatedness, absence, and ruin central to the Late Photography of War have the capacity to trouble the ethical viewing relations underscoring one of the dominant interpretive frameworks of war photography—that of pity. Rather than reproducing a familiar logic in which benevolent viewers are privileged over foreign landscapes and abject victims, these photographs foreground a more ambivalent set of viewing relations which elongates the moment of encounter between the viewer and the picture. Secondly, the paper explores this ambivalence through a common but unexamined motif in Late Photography: the juxtaposition of leisure and war. Focusing on the material detritus of leisure facilities that populate the photographs of Simon Norfolk and Angus Boulton (eg, bullet-marked hotels, wrecked swimming pools), the paper suggests that the tentative formations of solidarity between viewers and the ghosts populating these images constitute a provocative alternative viewing relation.