٠ The animated femme fatale ٠

“The combination of film noir and cartoon intensifies this possibility for upset. By and large, the separate worlds and characters of these two genres are shown to coexist and eventually to learn from one another, but Jessica is a character caught in the interface between them. (Even her full name poses an existential problem: Jessica…

Read More

٠ Authenticity: transcending the multiples and the originals ٠

© Annette Lemieux, Apparition, 1989. Chromogenic print. [A]s we have constantly been reminding ourselves ever since Walter Benjamin’s “Work of Art in the Age of Mechanical Reproduction,” authenticity empties out as a notion as one approaches those mediums which are inherently multiple. “From a photographic negative, for example,” Benjamin argued, “one can make any number…

Read More

٠ Thomas Susanka’s ‘The Rhetorics of Authenticity: Photographic Representations of War’ (II of II) ٠

(continuation. part I here) PROXIMITY AND IMMEDIACY With regard to war photography, we can isolate several major criteria of authenticity that have prevailed over the course of the last 60 years. Most prominent is the impression of spatial proximity and temporal immediacy with respect to the events depicted. Photographs satisfying these criteria create the impression…

Read More

٠ Thomas Susanka’s ‘The Rhetorics of Authenticity: Photographic Representations of War’ (I of II) ٠

What follows are excerpts from a very interesting article by Thomas Susanka, published in “Paradoxes of Authenticity”, pp.95-113, edited by Julia Straub and published by transcript Verlag, Bielefeld, 2012 In the context of the following paper, as Susanka clarifies, ‘authenticity’ should be understood “as one strategy to achieve verification and hence persuasion, namely by demonstrating…

Read More