Looking at War

2171 Words Sep 17th, 2010 9 Pages
LOOKING AT WAR
Photography’s view of devastation and death. by SUSAN SONTAG
Issue of 2002-12-09
Posted 2005-01-03
Awareness of the suffering that accumulates in wars happening elsewhere is something constructed. Principally in the form that is registered by cameras, it flares up, is shared by many people, and fades from view. In contrast to a written account, which, depending on its complexity of thought, references, and vocabulary, is pitched at a larger or smaller readership, a photograph has only one language and is destined potentially for all.
In the first important wars of which there are accounts by photographers, the Crimean War and the American Civil War, and in every other war until the First World War, combat itself was
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How else to get attention for one’s product or one’s art? How else to make a dent when there is incessant exposure to images, and overexposure to a handful of images seen again and again? The image as shock and the image as cliché are two aspects of the same presence. Sixty-five years ago, all photographs were novelties to some degree. (It would have been inconceivable to Virginia Woolf—who did appear on the cover of Time in 1937—that one day her face would become a much reproduced image on T-shirts, book bags, refrigerator magnets, coffee mugs, mouse pads.) Atrocity photographs were scarce in the winter of 1936-37: the depiction of war’s horrors in the photographs Woolf discusses in Three Guineas seemed almost like clandestine knowledge. Our situation is altogether different. The ultra-familiar, ultra-celebrated image—of an agony, of ruin—is an unavoidable feature of our camera-mediated knowledge of war.

Photography has kept company with death ever since cameras were invented, in 1839. Because an image produced with a camera is, literally, a trace of something brought before the lens, photographs had an advantage over any painting as a memento of the vanished past and the dear departed. To seize death in the making was another matter: the camera’s reach remained limited as long as it had to be lugged about, set down, steadied. But, once the camera was emancipated from the tripod, truly portable, and equipped with a
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