Abstract
The essay takes as its subject Sophie Ristelhueber’s "Fait" and Werner Herzog’s "Lessons of Darkness" (both 1992) to interpret them as instances of ‘pensive’ images. As such – negating the transparency of the photographic image – they are able to internalize the logic of what Judith Butler called their “visual frame, coercive and consensually established,” allowing it to transpire from the picture itself, as well as to confront or to sidetrack the issues of rhetoric and address. The essay tries to see what the two works, in spite of their abstract and decontextualized character, can tell about the war in general, and the Gulf War in particular, claiming that pensive images reflect the world in a more obtuse, but at the same time more thoughtful way.
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