Another Way of Telling
Nonfiction, Art & Architecture, General Art, Criticism, Fiction & Literature, Literary Theory & Criticism, Theory, Photography
| Author: | John Berger | ISBN: | 9780307794192 |
| Publisher: | Knopf Doubleday Publishing Group | Publication: | July 13, 2011 |
| Imprint: | Vintage | Language: | English |
| Author: | John Berger |
| ISBN: | 9780307794192 |
| Publisher: | Knopf Doubleday Publishing Group |
| Publication: | July 13, 2011 |
| Imprint: | Vintage |
| Language: | English |
"There are no photographs which can be denied. All photographs have the status of fact. What is to be examined is in what way photography can and cannot give meaning to facts." With these words, two of our most thoughtful and eloquent interrogators of the visual offer a singular meditation on the ambiguities of what is seemingly our straightforward art form.
As constructed by John Berger and the renowned Swiss photographer Jean Mohr, that theory includes images as well as words; not only analysis, but anecdote and memoir*. Another Way of* Telling explores the tension between the photographer and the photographed, between the picture and its viewers, between the filmed moment and the memories that it so resembles. Combining the moral vision of the critic and the pratical engagement of the photgrapher, Berger and Mohr have produced a work that expands the frontiers of criticism first charged by Walter Benjamin, Roland Barthes, and Susan Sontag.
"There are no photographs which can be denied. All photographs have the status of fact. What is to be examined is in what way photography can and cannot give meaning to facts." With these words, two of our most thoughtful and eloquent interrogators of the visual offer a singular meditation on the ambiguities of what is seemingly our straightforward art form.
As constructed by John Berger and the renowned Swiss photographer Jean Mohr, that theory includes images as well as words; not only analysis, but anecdote and memoir*. Another Way of* Telling explores the tension between the photographer and the photographed, between the picture and its viewers, between the filmed moment and the memories that it so resembles. Combining the moral vision of the critic and the pratical engagement of the photgrapher, Berger and Mohr have produced a work that expands the frontiers of criticism first charged by Walter Benjamin, Roland Barthes, and Susan Sontag.
