Microsoft Word – Sontag1.rtf

Nonstop imagery (television, streaming video, movies) is our surround, but when it comes to remembering, the photograph has the deeper bite. Memory freeze-frames; its basic unit is the single image. In an era of information overload, the photograph provides a quick way of apprehending something and a compact form for memorizing it. The photograph is like a quotation, or a maxim or proverb. Each of us mentally stocks hundreds of photographs, subject to instant recall.

To those who are sure that right is on one side, oppression and injustice on the other, and that the fighting must go on, what matters is precisely who is killed and by whom. To an Israeli Jew, a photograph of a child torn apart in the attack on the Sbarro pizzeria in downtown Jerusalem is first of all a photograph of a Jewish child killed by a Palestinian suicide-bomber. To a Palestinian, a photograph of a child torn apart by a tank round in Gaza is first of all a photograph of a Palestinian child killed by Israeli ordnance. To the militant, identity is everything. And all photographs wait to be explained or falsified by their captions. During the fighting between Serbs and Croats at the beginning of the recent Balkan wars, the same photographs of children killed in the shelling of a village were passed around at both Serb and Croat propaganda briefings. Alter the caption, and the children’s deaths could be used and reused.

“Here then on the table before us are photographs,” Woolf writes of the thought experiment she is proposing to the reader as well as to the spectral lawyer, who is eminent enough, as she mentions, to have K.C., King’s Counsel, after his name—and may or may not be a real person. Imagine then a spread of loose photographs extracted from an envelope that arrived in the morning post. They show the mangled bodies of adults and children. They show how war evacuates, shatters, breaks apart, levels the built world. “A bomb has torn open the side,” Woolf writes of the house in one of the pictures. To be sure, a cityscape is not made of flesh. Still, sheared-off buildings are almost as eloquent as bodies in the street. (Kabul, Sarajevo, East Mostar, Grozny, sixteen acres of lower Manhattan after September 11, 2001, the refugee camp in Jenin …) Look, the photographs say, this is what it’s like. This is what war does. And that, that is what it does, too. War tears, rends. War rips open, eviscerates. War scorches. War dismembers. War ruins.
Not to be pained by these pictures, not to recoil from them, not to strive to abolish what causes this havoc, this carnage—these, for Woolf, would be the reactions of a moral monster. And, she is saying, we are not monsters, we members of the educated class. Our failure is one of imagination, of empathy: we have failed to hold this reality in mind.

It is that we are surprised to learn they were staged, and always disappointed.

If governments had their way, war photography, like most war poetry, would drum up support for soldiers' sacrifice.

But the photographic image, even to the extent that it is a trace (not a construction made out of disparate photographic traces), cannot be simply a transparency of something that happened. It is always the image that someone chose; to photograph is to frame, and to frame is to exclude

No moral charge attaches to the representation of these cruelties. Just the provocation: can you look at this? There is the satisfaction of being able to look at the image without flinching. There is the pleasure of flinching.

It seems that the appetite for pictures showing bodies in pain is as keen, almost, as the desire for ones that show bodies naked.

professional, specialized tourists known as journalists.

photography has kept company with death.