Abstract
In his book Images in Spite of All: Four Photographs from Auschwitz, Didi-Huberman indicates that the four photographs in question were taken as a counterweight or in spite of something. They show the activities of the Sonderkommando, whose task was to escort other Jews into gas chambers, as well as to dispose and burn the corpses that were left behind. In the dual role of the victim and the perpetrator, members of this unit, in spite of the ban and the danger they were in, had created four photographs showing their own activities inside the camp. Throughout the work, different modes of being in spite of characteristic of the aforementioned photographs are separated and explained with regard to whether they relate to the need for, production or reception of photographs. They were created in spite of, but also based on, the inconceivability of the situation they portray (photographs as evidence), in spite of the prohibition of photographs (obstacle in production) and in spite of the representational framework or representability of humans obstacle in reception. Inconceivability brings us to the notions of evidence, truth, but also power, representability, prohibition and rules. Based on the representability of the photographs and the notion of cultural memory, we considered the possibilities of the photographs representing Judith Butler's disobedient act of seeing. It will be shown that an emergence in spite of as Didi-Huberman would say, or a disobedient act of seeing in Judith Butler's words, is readable more through the way the images are made, than through what they depict. Unlike the usual "allowed" war photographs, they are specific proofs of the prohibition against which they are made.
Highlights
In his book Images in Spite ofAll: Four Photographsfrom Auschwitz, Didi-Huberman indicates that the four photographs in question were taken as a counterweight or in spite of something
In the dual role of the victim and the perpetrator, members of this unit, in spite of the ban and the danger they were in, had created four photographs showing their own activities inside the camp
Throughout the work, different modes of being in spite of characteristic of the aforementioned photographs are separated and explained with regard to whether they relate to the need for, production or reception of photographs
Summary
Али и на основу, незамисливости ситуације коју приказују (фотографија као доказ), упркос забрани фотографија (препрека у продукцији) и упркос репрезентабилности човека (препрека у рецепцији). На основу појмова репрезентабилности и културног сећања, разматраћу могућност да ове фотографије представљају оличење непослушног акта виђења о ком говори Џудит Батлер (Judith Butler). Покушаћу да по кажем да је настанак упркос, како би рекао Диди-Хуберман или жпослушно виђење, речима Џудит Батлер, читљиво више кроз начин на који су слике настале него кроз оно што приказују Кључне речи: ратна фотографија, „Sonderkommando”, Аушвиц, грозота, културно сећање. Током Другог светског рата, постојала је пракса да група логораша - Јевреја обавља задатке спровођења других Јевреја у гасне коморе, као и одлагања и спаљивања лешева који су за њима остајали.
Sign-in/Register to view highlights & summary Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
