Ideology of the Photographs: Thinking with Sontag and Butler

When I started thinking about the role of photography and framework as evidence and its limitations, considering Butler's discussion about the visual modality of reality adjustments, the first question before me is that it is useless Could it be? Imposes meaning to what is inherently seen. But Butler builds reality in some way - our "embedding story" and our moral response to it - presenting us an assertion about painful ways - its framework in establishment and construction I urge you to work on that role. Some problems Legal, political and moral responsibility has not been established.

However, the picture of Son Tag is always the interpretation of the world, whether it is a photographer or a photographer, this interpretation is always influenced by tradition, ideology, and the spirit of the times. Photographers necessarily impose their own preferences on their products by choosing where they point to the camera and how they point out them. Sontag said that this man began to rely on photos only to experience something meaningful. By transforming experience into images, pictures can provide shapes and times for temporary experiences. In other words, we need a camera to implement and verify our experience.

The picture of Sontag is also a nostalgic form, connecting with the reality of the past, and managing it. The picture now gives meaning, and as Sontag said, the moment of shooting is a privileged moment chosen for cultural reasons. Since events are worth photographed, photos change the moment to an event, but that determines the value of the movie. In summary "in Plato's cave" Sontag noticed that the photos divide the history into irrelevant fractures. That is a series of anecdotes. However, we are now obsessed with real approval and approval through photographs. Today, we have everything for taking pictures (see Guy Debord's "Landscape Society").

Like the first book published in 1977, there are no pictures. Missing or suppressing Sontag is concerned about the active invasion of photos, its unrealistic shifting of reality, its unrelated aesthetics. Actual pictures were not very fun for her, and they were mentioned in strict oral interpretation, but they were blamed for their distrust. Her early book's conclusion was to seek "image ecology" to condemn and consider consumerist attacks on our visual stimuli. She remembers to resonate about the sufferings of others, is helpless, and acknowledges that it will never occur. The "Protection Committee" reforms the news media enjoying disasters and delustering, and does not act according to the principle "guide when bleeding".