Ch. 1. Remembering To Forget – Barbie Zelizer

pg 6 -But Pictures also function differently from words; consider the rush of emotions driven by Picasso’s famous painting, Guernicaguernica3.jpg

In dealing with the most realistic image – the photograph – this has particular importance. For there, the visual, aligned with the camera, produces a powerful interpretive tool that derives strength from both its mechanical aura and the verisimilitude that it conveys.

pg 6 – As Scholars James Fentress and Chris Wickham have noted, the “relation between a remembered image and the meaning or event to which this image supposedly refers to is inherently arbitrary” [Social memory [pp 47]

pg 7 – The images of collective memories are also both conventional and simple – in Fentress and Wickham’s view , “conventionalized, because the image has to be meaningful for an entire group; simplified, because in order to be generally meaningful and capable of transmission, the complexity of the image must be reduced as far as possible.” [pg 48

[N.Q] do photos bring back personal memories or do photos bring back other photos that you have seen. Pseudo memories

pg 8 – photographs turn somewhat magically into iconic representations that stand for a system of beliefs, a theme m an epoch.

pg 11 – ” a photograph that brings news of some unexpected zone of misery cannot make a dent in public opinion unless there is an appropriate context of feeling and attitude…. photographs cannot create a moral position. But they can reinforces one – and can help build a nascent one … the contribution of photography always follows the naming of the even.” [sontag, on photography pp 17-19]

pg 12 -These memory practises make clear that those of us who did not experience the Holocaust personally now know it in part through photographs.





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