A photograph is a powerful tool for life. A single, unchanged image of reality can be utilized for a variety of situations. For one, one photograph could decide the lifestyle in the foreseeable future of a person that committed a crime. Furthermore, one photograph could reveal the horrors of a particular event. On another note, one photograph could hold heartwarming memories forever. In addition, one photograph could stir a controversy that will have people debating whether an entity is real or not. Overall, as Susan Sontag mentions in her book Photograph, “Photographs furnish evidence.”(Sontag); in other words, whether if it is, good, bad, or misinterpreted, one photograph can be used as evidence that something in fact happened or is real.
In “Why We Take Pictures,” Susan Sontag discusses the increase use of technology and its ability to impact the daily lives of mankind. Taking pictures is a form of self-evolution that slowly begins to shape past and present experiences into reality. Sontag argues how the use of photography is capable of surpassing our reality by helping us understand the concept of emotion, diversity, and by alleviating anxiety and becoming empowered. Moreover, according to her argument, people are able to construct a bond between the positive or negative moments in life to cognitively release stress through reminiscing. Therefore, Sontag claims that photography itself can help with reshaping individual’s perspectives of reality by being able to empathize with the emotions portrayed through an image. Thus, giving
Selfies are a form of capturing memories and for Kathryn Steinle (Kate), a 32 year old woman, a selfie with her father on a San Francisco pier
While Postman points out the literal meaning of photography is “writing with light”; the two are from completely different universes when it comes to public discourse (p. 71). Unlike typography, photography cannot offer assertions, make propositions and offers no commentary. As long as it is not an altered photograph, it has no choice but to be true (p. 73). Thus, the photograph is only able to capture a moment in time and does not have the ability to comment on that moment. Our author contends, where language presents the world as an idea, the photographs only option is to show the world as an object (p. 72). Whereas in language, the correct context requires consideration of what is said before and after, in photography there is no before and after, only the snapshot of time. Therefore, by its very nature photography is context-free (p. 73). As photography immersed itself in the American culture author, Daniel Boorstin called this “the graphic revolution.” Postman is unequivocal on the point that the traditional forms of information, news, and even reality itself received an impairment by this new focus on images. For examples, he cites billboards, posters and advertisements. He points to magazines Life, Look and several newspapers. The picture was the focal point, and the writing was forced to take a less dominate roll and sometimes done away with altogether (p.
She attempts to bring this photo to life, giving it a true identity, through the world of science and through the stories her family shares. The Immortal
4. When Hardy is explaining McMurphy “You are strapped to a table, shaped, ironically, like a cross, with a crown of electric sparks in place of thorns. Later in the book once Chief and McMurphy are moved to the Disturbed ward, McMurphy ask to be anointed with a crown of thorns while on the electroshock table.
One day in 1893, Pierre Bonaire strolled on the streets of Paris. Many years later, he will be the post-impressionist Zongjiang, founder of the Nabi School of painting and the world, but then, he was just a 26-year-old solo painter. In the street, he helped a girl cross the road, and then occasionally began to chat: she said he was 16 years old, called Mardel de Mellini, first came to Paris, working in the flower shop. Later she became Bonnard's model, and then naturally become the lover of Bonnard.
His attempt to depersonalize the subjectivity that Bartleby represents crushes a part of himself. The photograph can only deal with a particle of experience but, as Bartleby explains to the lawyer, “I am not particular” (Melville, “Bartleby” 69)” (Weiner,
The violent markings of the photo album and its images, however, produce an equally powerful message that jars the memory as it disrupts and distorts the photographic chronicle of her life and that of her family and friends. The result is a complex visual experience that addresses the use of images in producing knowledge and making history.
Furthermore, the “selfie” or digital image seeks to represent a moment of time or fun that does not prove to be an authentic representation of one self. Moreover, it can be eluded from the text that self portraits are the art and the selfie or “digital” image is the human need. The text elaborates this ideology, stating “…digital photography has
Susan Sontag said photographs sends across the harmlessness and helplessness of the human life steering into their own ruin. Furthermore the bond connecting photography with departure from life tortures the human race. (Sontag 1977:64)