“我们今天发布的图片令人不敢看”:美国内战期间暴行图片的流传

IF 0.3 2区 艺术学 0 ART
A. Cross
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引用次数: 0

摘要

本文探讨了1864年在马里兰州安纳波利斯的美国总医院拍摄的战俘照片的流通。更具体地说,它认为在哈珀周刊的插图报纸上以木版版画的形式出版这些图像是更广泛的摄影流通网络的一部分,也是美国内战期间暴行图像流通的一部分。该项目遵循了最近对摄影历史的干预,强调复制和流通,并将摄影印刷品作为生产意义的主要场所。通过研究安纳波利斯囚犯照片出现的多种视觉和叙事背景,包括哈珀周刊的木版,本文揭示了这些图像的不同含义,因为媒体和公众都试图理解囚犯的恶化,并将他们的图像用于政治目的。最后,这篇文章采用流通作为一种方法来理解观众如何使用照片来理解美国内战中看似无法形容的创伤和破坏。这个项目也展示了《哈伯周刊》是如何依靠现有的公共档案——文本和图像,特别是访问记录——来报道新闻并进一步阐述其修辞立场的。必须强调的是,这篇文章中的图片令人不安。照片上的男性非常消瘦,想必是在未经完全同意的情况下拍摄的。这些照片的展示是为了理解暴行图像在19世纪传播的方式,因此,我们需要考虑当时和现在出版和展示这些图像的适当性。在这种批判性的接触中,关注和观察的伦理问题必须摆在最前面。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
‘The Pictures Which We Publish To-Day Are Fearful to Look Upon’: The Circulation of Images of Atrocity During the American Civil War
This article explores the circulation of photographs of prisoners of war that were taken at the US General Hospital in Annapolis, Maryland in 1864. More specifically, it considers the publication of these images as wood engravings in Harper’s Weekly’s illustrated newspaper as part of a broader network of photographic circulation, and the circulation of images of atrocity during the American Civil War. This project follows recent interventions in photographic history that have emphasised reproduction and circulation, and that have decentred the photographic print as the primary site for the production of meaning. By examining the multiple visual and narrative contexts in which photographs of the Annapolis prisoners appeared, including as wood engravings in Harper’s Weekly, this article reveals how divergent meanings were ascribed to the images, as both the press and the public sought to make sense of the prisoners’ deterioration and to use their images for political purposes. Ultimately, the article employs circulation as a methodology to understand how audiences used photographs to make sense of the seemingly ineffable trauma and devastation of the American Civil War. This project also demonstrates how Harper’s Weekly relied upon an existing public archive – of text and images, particularly cartes de visite – to report the news and to further its rhetorical position. It is important to highlight that the images in this article are disturbing. They show men in states of significant emaciation and were presumably taken without full consent. These pictures are shown as part of an effort to understand the ways in which images of atrocity were circulated in the nineteenth century, and, as such, requires that we consider the appropriateness of publishing and exhibiting such images both then and now. A question of care and of an ethics of looking must be at the forefront of this critical engagement.
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来源期刊
CiteScore
0.30
自引率
50.00%
发文量
23
期刊介绍: History of Photography is an international quarterly devoted to the history, practice and theory of photography. It intends to address all aspects of the medium, treating the processes, circulation, functions, and reception of photography in all its aspects, including documentary, popular and polemical work as well as fine art photography. The goal of the journal is to be inclusive and interdisciplinary in nature, welcoming all scholarly approaches, whether archival, historical, art historical, anthropological, sociological or theoretical. It is intended also to embrace world photography, ranging from Europe and the Americas to the Far East.
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