Von der Vorgeschichte des Abschieds. Bilder zum Zustand des Kriegerischen in der Fotografie. (The Prehistory of Departure. Pictures on the state of warfaring in photography)
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Copy number Shelfmark Shelf mark R073266 Ned. Fotomuseum Ned. fotomuseum
TitleVon der Vorgeschichte des Abschieds. Bilder zum Zustand des
Kriegerischen in der Fotografie. (The Prehistory of Departure.
Pictures on the state of warfaring in photography)
Author
Edition[nummer] 43
[jaargang] XII
[tijdschrift; titel] FOTOGESCHICHTE
[tijdschrift; pagina] 27-38
Photographer
Iconographic keywords
Year of publication1992
Materialartikel
Document TypeArticle
SubjectVervalsen, Geschiedenis van de fotografie: A (Oostenrijk), Geschiedenis van de fotografie: D (Duitsland), Geschiedenis van de fotografie: F (Frankrijk), Geschiedenis van de fotografie: GB (Groot-Britannië), Geschiedenis van de fotografie: USA, Propaganda met foto's, Oorlog en fotografie, Oorlogsfotografie
Persons keyword München Krieg und Fotografie, D
Abstract
Is it possible to speak of war photography today? War is an
event in which the course of history is suspended. War closes
and opens history. In this process, photography is on the side
of war, invading the historical and documenting that invasion.
From the troop deployment in the Texas War of 1846 and the
Crimean War, to the photographs of the "Harvest of Death" during
the American Civil War, the photography of war bears witness to
what is non-representable about war. Photography was important
for military logistics, as a weapon of "reconnaisance". At the
latest since the Gulf War and its satellite pictures,
photography as a medium of displaced time has ceded its role in
logistics to video, the medium of real time. In today's
television war reporting we may find out what is happening, but
never what has happened: the perpetuation of infinite end.
(Published Abstract)
Citaten:
Wiegand, W.: Die Wahrheit der Photographie (1982)
Gernsheim, H.: Geschichte der Phot. (1983)
Taft, R.: Photography and the American Scene (1938)
Virilio, P.: Guerre et cinéma 1, logistique de la perception (1984)
Trachtenberg, A.: Reading American Photographs (1989)
Meredith, R.: Mr. Lincoln's Camera Man Mathew B. Brady (1946)
Hannavy, J.: Roger Fenton of Crimble Hall (1975)
Virilio, P.: L'écran du désert. Chroniques de guerre (1991)
Stiegler, B.: Die industrielle Echtzeit (1989?)
Kittler, F. A. / Tholen, G. C. (eds): Arsenale der Seele (1989)
Hörisch, J. / Wetzel, M. (eds): Armaturen der Sinne (1990)
Stingelin, M. / Scherer, W. (eds): HardWar/SoftWar (1991)
Miller, F. T. (ed): The Photographic History of the Civil War (1911)
Panofsky, E.: Zum problem der historischen Zeit (1927)
Von Clausewitz, C.: Vom Kriege (1832, repr. 1990)
Derrida, J.: La différance (1968)
Wetzel, M.: Die Zeit der Entwickling (1990)
Sekula, A.: Traffic in Photography (in: Photography against the Grain, 1984)
Sandweiss, M. A. a.o.: Eyewitness to war (1989)
Gernsheim, H. and A.: Roger Fenton (1973)
James, L.: Crimea 1854-1856 (1981)
Janis, E.P.: Photographs of Gustave Le Gray (1987)
Von Amelunxen, H.: Photographie et Guerre (1992)
Jünger, E. (ed): Das Antlitz des Weltkrieges (1930)
Rouillé, A.: Un combat photographique en Crimée (1989)
Oetterman, S.: Das Panorama (1980)
Busch, B.: Belichtete Welt (1989)
Newhall, B.: Geschichte der Photographie (tr. 1984)
Frassanito, W. A.: Gettysburg (1975)
Frassanito, W. A.: Antietam (1978)
event in which the course of history is suspended. War closes
and opens history. In this process, photography is on the side
of war, invading the historical and documenting that invasion.
From the troop deployment in the Texas War of 1846 and the
Crimean War, to the photographs of the "Harvest of Death" during
the American Civil War, the photography of war bears witness to
what is non-representable about war. Photography was important
for military logistics, as a weapon of "reconnaisance". At the
latest since the Gulf War and its satellite pictures,
photography as a medium of displaced time has ceded its role in
logistics to video, the medium of real time. In today's
television war reporting we may find out what is happening, but
never what has happened: the perpetuation of infinite end.
(Published Abstract)
Citaten:
Wiegand, W.: Die Wahrheit der Photographie (1982)
Gernsheim, H.: Geschichte der Phot. (1983)
Taft, R.: Photography and the American Scene (1938)
Virilio, P.: Guerre et cinéma 1, logistique de la perception (1984)
Trachtenberg, A.: Reading American Photographs (1989)
Meredith, R.: Mr. Lincoln's Camera Man Mathew B. Brady (1946)
Hannavy, J.: Roger Fenton of Crimble Hall (1975)
Virilio, P.: L'écran du désert. Chroniques de guerre (1991)
Stiegler, B.: Die industrielle Echtzeit (1989?)
Kittler, F. A. / Tholen, G. C. (eds): Arsenale der Seele (1989)
Hörisch, J. / Wetzel, M. (eds): Armaturen der Sinne (1990)
Stingelin, M. / Scherer, W. (eds): HardWar/SoftWar (1991)
Miller, F. T. (ed): The Photographic History of the Civil War (1911)
Panofsky, E.: Zum problem der historischen Zeit (1927)
Von Clausewitz, C.: Vom Kriege (1832, repr. 1990)
Derrida, J.: La différance (1968)
Wetzel, M.: Die Zeit der Entwickling (1990)
Sekula, A.: Traffic in Photography (in: Photography against the Grain, 1984)
Sandweiss, M. A. a.o.: Eyewitness to war (1989)
Gernsheim, H. and A.: Roger Fenton (1973)
James, L.: Crimea 1854-1856 (1981)
Janis, E.P.: Photographs of Gustave Le Gray (1987)
Von Amelunxen, H.: Photographie et Guerre (1992)
Jünger, E. (ed): Das Antlitz des Weltkrieges (1930)
Rouillé, A.: Un combat photographique en Crimée (1989)
Oetterman, S.: Das Panorama (1980)
Busch, B.: Belichtete Welt (1989)
Newhall, B.: Geschichte der Photographie (tr. 1984)
Frassanito, W. A.: Gettysburg (1975)
Frassanito, W. A.: Antietam (1978)
| Copy number | R073266 |
| Institution name | |
| Shelf mark | Ned. fotomuseum |