Analysis Of Darkness Is The Light That Has Not Yet Reached Us

In the exceptional novel All the Light We Cannot See, author Anthony Doerr, tells the story of two young adults whom had to experience life during World War II.

Throughout the book, All The Light We Cannot See by Anthony Doerr, there were many symbols that were present. One symbol that stood out to me the most in the book was the radio. This symbol stood out the most because of how the characters manipulated it throughout the story.

Some might claim the YA genre has grown to be too dark for its target audience. Meghan Gurdon, a firm believer of this idea, explains why she believes this in her article, “Darkness Too Visible”. Gurdon describes the experience of a mother of three in a bookstore looking to purchase a YA novel for one of her children, when she found herself leaving the bookstore empty-handed due to the content of the teen books. While teen books decades ago contained less violent/corrupted material, times have changed along with the genre. She is concerned that these books could have an effect on these young readers’ brains as they are merely transferring from childhood to adulthood. Gurdon still has faith that YA books would sell just as well and connect with young readers today without all of the dark subject matters discussed in them these days.

Uelsmann’s work was not well received in the photography community. His creations were not considered photography; however, he was well received in the art community. John Szarkowski hosted a solo exhibit at the Museum of Modern Art in 1967. Uelsmann was considered “iconoclastic” and “set out to convince critics that photography offered alternatives to the conventional “purist” sensibility…” Uelsmann debated that photos could “evoke elusive states of feeling and thinking triggered by irrational and imaginative juxtaposition” (Kay). Uelsmann has succeeded in finding a following among photographers and artist alike. In the past forty years, Uelsmann’s work has been exhibited in over 100 solo shows throughout the US and overseas. He has permanent instillations in museums worldwide (Taylor). Uelsmann’s photos are now revered for their original technical form as well as their surreal matter (Johnson).

Photography was an ideal medium with which to explore the payers of the unconscious mind. Modernist photographers experimented with double exposure and unusual new effects similar to those of visionary Surrealist painters and sculptors. A champion of the technique, Raoul Hausmann, called photomontage “the ‘alienation’ of photography”. By this, he implied that photomontage destroyed the role of photography as a medium of recreating physical reality. But the statement also suggests that by its dependence on fragmentation and dislocation, photomontage offered a visually and conceptually new image of the chaos of an age of war and revolution.

Anthony Doerr is the author of eight separate short stories and novels, the oldest of them being written in 2002. Of all his works, five of the eight consist of novels that have been published. With the score of his five novels all averaged, he pulled through it all with a four-point-one overall out of five. This just shows that he has been able to succeed and flourish in the career of being an author. His most famous and well known creation was one written in 2014, All the Light We Cannot See. This novel was sold worldwide due to its theme being set during World War II. This novel even went as far as to bring the esteemed writer and author the Pulitzer Prize for Fiction award, which has been awarded to a book every year since 1918. There

When I first set out to propose a project, I wasn’t sure what topic I wanted to conquer. Therefore, I quickly jumped when the professor suggested reading the memoir, “Darkness Visible” by William Styron. I have enjoyed all the class readings so far, I even did my last project on another memoir, and thought that reading a fresh perspective regarding mental illness would be engaging and inspiring.

Winogrand took photos of everything he saw; he always carried a camera or two, loaded and prepared to go. He sought after to make his photographs more interesting than no matter what he photographed. Contrasting many well-known photographers, he never knew what his photographs would be like he photographed in order to see what the things that interested him looked like as photographs. His photographs resemble snapshots; street scenes, parties, the zoo. A critical artistic difference between Winogrand's work and snapshots has been described this way, the snapshooter thought he knew what the subject was in advance, and for Winogrand, photography was the process of discovering it. If we recall tourist photographic practice, the difference becomes clear: tourists know in advance what photographs of the Kodak Hula Show will look like. In comparison, Winogrand fashioned photographs of subjects that no one had thought of photographing. Again and again his subjects were unconscious of his camera or indifferent to it. Winogrand was a foremost figure in post-war photography, yet his pictures often appear as if they are captured by chance. To him and other photographers in the 1950s, the previous pictures seemed planned, designed, visualized, understood in advance; they were little more than pictures, in actual fact less, because they claimed to be somewhat else the examination of real life. In this sense, the work of Garry Winogrand makes a motivating comparison to Ziller's

Photographs are also manifestations of time and records of experience. Consequently, writings on photographic theory are filled with references to representations of the past. Roland Barthes (1981, 76), for instance,

Depression is the leading mental illness worldwide, affecting millions of people every day. As one of the most common mental illnesses, it can occur to anyone, at any age, and to people of any race or ethnic group. With his book Darkness Visible: A Memoir of Madness, William Styron became of the first people to publicly acknowledge his struggling battle with depression. Darkness Visible is an intense and haunting account of Styron’s own suicidal depression in which he reminds us of the toll that this dreadful illness can have on an individual. As Styron describes his own descent into depression, he tells about the place that he was in, “the despair beyond despair” as he describes it to be. Since its publication, his memoir has been appreciated throughout the world and become a helping hand for people around the world who are suffering from depression. Styron’s description of his experiences resonates with people in a deep and profound way, turning his work into an advocate for the movement for the awareness for depression

Kangawa’s ability to present reality in an abstract fashion differs from the generic archived videos; he replicates the experience by including not only the location but also the tension evoked within the air—the use of the 6K camera serves as a medium that conduced to the aesthetic of this piece.

As this darkness recedes, the artist aspires to capture his recollections with the speed of what he depicts. Those intervals of alternating

It creates an illogical connection between ‘here-now’ and the ‘there-then’. As the photograph is a means of recording a moment, it always contains ‘stupefying evidence of this is how it was’. In this way, the denoted image can naturalise the connoted image as photographs retain a ‘kind of natural being there of objects’; that is, the quality of having recorded a moment in time. Barthes stresses that as technology continues to “develop the diffusion of information (and notably of images), the more it provides the means of masking the constructed meaning under the appearance of the given meaning’ (P159-60).

Throughout the world, an undeniable, yet perpetual force is responsible for tearing nearly everyone apart: hopelessness. Often caused by instability or vulnerability, hopelessness plagues those who refrain from combating its vile side effects. Hopelessness loves company, producing an inseparable bond between itself and self-doubt. During wartime events, it’s imperative to display some form of resistance towards the crippling despair. Although on the surface hopelessness seems insurmountable, it can be fought. In All the Light We Cannot See, Anthony Doerr emphasizes how the vital tool of resilience can be used to conquer hopelessness in all situations.

Art critic Robert Hughes once said, “People inscribe their histories, beliefs, attitudes, desires and dreams in the images they make.” When discussing the mediums of photography and cinema, this belief of Hughes is not very hard to process and understand. Images, whether they be still or moving, can transform their audiences to places they have either never been before or which they long to return to. Images have been transporting audiences for centuries thanks to both the mediums of photography and cinema and together they gone through many changes and developments. When careful consideration is given to these two mediums, it is acceptable to say that they will forever be intertwined, and that they have been interrelated forms of