Photography and Fetish by Christian Metz
Winning the Game when the Rules have been Changed: Art Photography and Postmodernism by Abigail Solomon-Godeau
The Crisis of the Real: Photography and Postmodernism by Andy Grundberg
Note: Peer Review project due class six.
Photography and fetish by christen Metz – he compares film and photography with the fetish. The definition of a fetish is believed than an object can have supernatural powers. He talks about the photography lexis and that it has no fixed duration and that the cinematic lexis is determined in advanced by the film maker which I believe is completely true. Fetish is more difficult in film because it is moving constantly and that photography is not because it is a still frame. He states that photography I linked to death because photography is silent and it doesn’t move. In photography the frame stays the same this why it can be more easily fetish because video is more difficult to fetish because it is to big and it last to long an there are to many things that are going at a time.
ReplyDeleteWining the game with the rules have been changed by Abigail soloman –godeau
In this reading she mostly talks about Edward Weston work and how she photographed his work and produced work off of his images. My opinion about this is that see both sides to is that she is playdoriseing his body of that he worked very hard for but on the other side is that it maybe not considered of steeling because when the images where produced he had died which still shouldn’t matter but on the other hand if like she really isn’t steeling because she isn’t producing the exact same thing he did. So I see both sides of it.
The crisis of the reel photography and postmodernism by andy grungberg- he says that postmodernism means different things to different media and that postmodernism is attack on modernism. Postmodernism is anything that doesn’t look like modernism is that photography should be considered fine art. He states that postmodernism style have to different views that style should consist of a mixture of media and the second view is that the media doesn’t matter at .
Christian Metz was a French film theorist, best known for pioneering the application of Ferdinand de Saussure's theories of semiology to film.
ReplyDeleteIn Photography and Fetish by Christian Metz, he discusses the differences in photography and film, the specifics and precisely defining them being important to further distinguish them. He concludes that photography is better fit to work as a fetish because to sum it up, it's more tangible. The auditory sphere is totally absent in photography; silence and immobility highlight its lacking features. Photography's linked with death in many ways. Memories of lost loved ones remind us of them, but they're silent and immobile, compared to (film) videos of them. This stillness maintains the memory of the dead as being dead. Another form of death in photography is the "off-frame," the inability to know what was beyond the frame of the image. Castration, Metz says, occurs with the click of the shutter. We see the fetish alive with the familiar photographs people carry. Film is harder to characterize as a fetish, the projected film cannot be held, handled..touched.
"Film lets us believe in more things, photography lets us believe more in one thing."
Abigail Solomon-Godeau writes widely on postmodernism, feminist theory, and contemporary art. She's also a Professor of Art History.
In Winning the Game When the Rules Have Been Changed: Art Photography and Postmodernism by Abigail Solomon-Godeau, she starts out with the question of what is the difference between a photograph and a re-photographed photograph? Is there an ultimate difference in the resulting image? One difference unrelated to quality of the photograph is one has an author, while one has a "confiscator." She states art photography has been "ghettoized." The photograph is the expression of the photographer's interior, rather than of the world it reproduces; "The artist creates the work of art, not the medium" -Steichen. Art photography has always defined itself in opposition to the ubiquity of all other photography and its general, normative uses. By the early 1960s, two tendencies emerged: the appearance of art photography and the academicization of it.
Andy Grundberg is a critic, curator, and teacher whose writing are collected in The Crisis of the Real.
Andy Grundberg, in The Crisis of the Real - Photography and Postmodernism, seeks to define postmodernism. He explains that it's different throughout different artistic media. Postmodernism is largely fueled by the motivation to be in opposition with modernism, therefore it's defined by its own peculiar modernism in whichever media at hand. It challenges the assumptions on the role of art. Behind it is a theory of the way we perceive the world that's both a reaction to, and in, structuralism. "The inability to have a pure, unblemished meaning or experience at all" is the crisis photography and all other art forms face in the late 20th century. One concept of Postmodernism is that the art should be a mixture of media, such as theatrical paintings for example, as opposed to strictly photography or dance in and of itself. Pastiche is a concept of mimicry in which a simultaneous process of masking and unmasking occurs; two different approaches towards one end: modernizing modernism. Appropriation is the assertion of the finiteness of the visual world. In other words, we can't really ever make purely new images; everything is has either already been made or is made with preconceived notions.
"We enter the woods as prisoners of our preconceived image of the woods"